Batman #0, Peter Cannon: Thunderbolt, Wheel of Time #29, and Damsels #1.

Batman #0
Written by Scott Snyder and James Tynion IV
Art by Greg Capullo, Andy Clarke, Jonathan Glapion and FCO Plascencia
Lettering by Richard Starkings, Jimmy Betancourt and Pat Brosseau
Published by DC Comics
Review by Lan Pitts
'Rama Rating: 9 out of 10

Here's where it all begins... again.

To be absolutely honest here, Batman #0 should have been the issue that introduced us to the new Batverse. There are actually two stories here, each with their own stars. One, under Snyder's direction, features Bruce coming to terms on what he must become to take down the infestation of crime that has plagued the city he loves. The other, by James Tynion IV, focuses on Jim Gordon, and the young men who would one day don the colors of Robin. Both of these intertwine, even though take place a year apart, leading to an engrossing read.

We all know Batman's origin. It's one of those things we're exposed to as a child. Here, we don't see it from day one, but it's younger Bruce. Hotheaded and out for justice. He's a bit sloppy and understands that he has to up the ante on criminals at large. At this point, Bruce Wayne is the disguise, and the creature of the night lurking inside of him is about to be unleashed. Bruce thinking he should operate as more of an urban legend and not be seen at all is a nice touch. The first part to the story just feels different as well. FCO lightened his color palette and for a moment, Gotham actually seems brighter. Perhaps coincidentally, Capullo's take on the younger Bruce reminds me of Bruce from The Batmananimated series.  

Tynion's approach to younger Gordon and how he makes a character out of a piece of Bat-lore, the Bat Signal, is impressive to say the least. But it's his handle on Tim Drake, Dick Grayson and Jason Todd that's the real page-turner; each with their own separate attitude and characteristics that will set them on different paths later on in life. The scene with Tim is possibly one of my favorite moments I've read all year. It's a shame he's not handled like this elsewhere.

Greg Capullo and Jonathan Glapion bring their usual A-game to the fold with some neat action shots. Even with the more subtle moments, like Bruce and Gordon talking on a rooftop, it's never boring. You can still see the intensity in Bruce's eyes and Gordon's calm nature almost leap out at you. Also, FCO giving a younger Gordon the same colors as Richard Lewis gave him back in Batman: Year One is a nice nod. Again, Team Batman molds this world around existing mythos, but still adds their own flavor to the batch. Andy Clarke is back again, and while last issue he was paired with Becky Cloonan, his style feels more at home here with Capullo and Glapion with his crosshatching and rendered linework. While I did find some of Clarke's facial expressions a bit goofy, the rest of his compositions are stellar and adds a certain level of grit to Gotham.

Batman #0 is a great example of how Scott Snyder and company have taken Batman to a whole new level. It's no wonder why it's the top-selling book of the company. There's more to this book aside from it just being Batman-related — it's opening a world that both a new generation and even older fans can enjoy. It's always fun to see where Bruce got all those wonderful toys and witness the man he was before donning the cape and cowl. While September is still early, this is a contender for the book of the month.

Peter Cannon: Thunderbolt
Written by Steve Darnall and Alex Ross
Art by Jonathan Lau and Vinicius Andrade
Lettering by Simon Bowland
Published by Dynamite Entertainment
Review by Lan Pitts
'Rama Rating: 9 out of 10

Being fresh to the Charlton heroes line aside from the Ditko creations, I thought I'd dive into Peter Cannon: Thunderbolt and came out loving it. Dynamite has been very hit-or-miss with their superhero universe, but this one really takes the idea of deconstructing heroes and kept me engaged. All I really know about the character is that he is the inspiration for Ozymandias ofWatchmen fame, so going in almost blindly was a good way to go about this.

The approach here is more realistic in the case that if somebody with superhuman abilities did just pop out of nowhere, the world would erupt with a mixed reaction of panic and hope. This world doesn't have superheroes, so when a dragon supposedly rises from a nuclear bomb testing, a masked man comes forth and defeats the dragon. This is Peter Cannon, Thunderbolt. With an ashcan by his creator, Peter Morisi, that is essentially a printing of a story DC never got around to publish, you can see that it's more of a straightforward superhero story and what the character is about. I feel that writers Steve Darnell and Alex Ross are taking the more Ozymandias approach to the character, but still keeping him entertaining and not repetitive of things we've seen before.

Jonathan Lau's art is pitch-perfect for a series like this. Though the issue is dialogue heavy, there's still plenty of action and different ways to handle those scenes of just two characters interacting. I wasn't bored by it, and I felt sucked into this world and the larger than life hero. His rendering is really tight, but I feel some of the visuals come across as lackluster due to Vinicius Andrade's colors. Everything just seems half-done. There are maybe a handful of panels that really come across as well done, but the rest just have their potential held back by the pallet used here.

I'm always on the hunt for new books to whet my appetite and Dynamite hit the spot with this one. Darnell and Ross hopefully have great things in mind planned for Mr. Cannon, and let's see where they can take us from here.

The Wheel of Time #29
Written by Chuck Dixon
Art by Francis Nuguit and Nicholas Chapuis
Lettering by Bill Tortolini
Published by Dynamte Entertainment
Review by Lan Pitts
'Rama Rating: 5 out of 10

Being a Wheel of Time fan, having patience is a prerequisite. And with the comic adaptation being so-so to very bad, I've almost run out of mine dealing with it. Which is sad as Robert Jordan was hailed as the American Tolkien, and I read these books as a pre-teen to, well, now, I grew up thinking what a great comic this would make. I just wish it could get some decent artists on it. Just for once.

Chuck Dixon does his best to adapt Jordan's hefty script and brings out the best dialogue from each scene. Each character is captured well enough, as it's almost verbatim. As a fan, I do like seeing certain scenes coming to the page as the first book (which we're still in) I remember the most of. He makes sure to represent each of the Emond Field boys as accurate as possible and I get a bit nostalgic. His mixture of using Jordan's narration with the bits of dialogue work well together, but I'd like to just see the book without the narration from the book and having the story told without them just to give it a better flow at times.

Now, here's the big problem. Francis Nuguit's art is fine but... well, boring. The thin linework reminds of me Joe Eisma, but without the flair or personality. Drawing these characters that are full of imagination, the visuals should be enchanting. Instead, we get stoic poses and mild facial expressions. I do like how he handled Mat from being sick with the dagger to still looking okay, but it's not perfect. I remember the transition in the book wasn't a complete success and that's conveyed here. The way how he draws Perrin and Loial should be commended, too, but that's about it. Nicholas Chapuis' colors are average at best, but does nothing to elevate the already mediocre art.

One has to wonder how things are going to get when the more battle-heavy issues come around. We still haven't made it to the Eye of the World yet, and I hope the art team is up to the challenge to do the story justice. Dixon is doing a bang-up job, let's see what happens when you pair him with a worthy visual storyteller.

Damsels #1
Written by Leah Moore and John Reppion
Art by Aneke and Ivan Nunes
Lettering by Scott Bowland
Published by Dynamite Entertainment
Review by Lan Pitts
'Rama Rating: 4 out of 10

With fairy tales being this year's vampires, a lot of material is coming out with different variations to folklore and Brothers Grimm stories. Damsels, though, takes a unique approach, but it's so scattered, I'm not really sure what is going on.

From the beginning, we're automatically thrown into a wild chase scene with a girl that I'm guessing is our main character. Some hints of her origin are there, but still remain a mystery. She's not even named and simply referred to as "Outlander" and other things of the sort. And for some reason, the Sleeping Beauty analogue is none too pleased with her. It's a fantasy world where magic is seemingly forbidden and fairies are bought as pets.

Aneke's art is pretty good, though. The style has an old-school comic book flair to it, but still modern enough to be pleasing to the eye. The way some shots are used has a very cinematic take, but I'm still trying to sort out what is going on. The panel construction is a little nonsensical at times and makes the page even more claustrophobic. There is a scene at the end with a back-and-forth approach on two scenarios taking place at the same time. While it's clever to take that artistic route, the story itself doesn't make all that much sense in the end.

I really do love Ivan Nunes' coloring job on here. I think a weaker or less talented artist would have made a mess of the busier pages, but Nunes handles the situation with a certain amount of confidence that has to be admired. His palette really brightens things up and does a great job separating all the things on the page. Nothing is wasted and color just saturates each panel. It's pretty to look at even if you're trying to catch up to the story.

I'm keen to the idea of an action/fantasy story with a female perspective, more so if the idea is about the princess archetype being flipped on its head and calamity ensues from there. Yet Damsels leaves too many questions floating about and not enough intrigue for me to really invest more time in. Interesting concepts all around, but still, too much at once and nothing comes across as cohesive to really want to come back for more.

Mid-May update. Reviews and interview, ahoy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Magdalena #1 review

Magdalena #1
Written by Ron Marz
Pencils by Nelson Blake II
Inks by Sal Regla
Colors by Dave McCaig
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"I've given it all the thought I need to. I've accepted what I am. What my bloodline makes me. But I'm done being used by the Church. Magdalenas have been disposable commodities for centuries. That's NOT HOW I'm going to end up. Nothing is going to make me change my mind." Patience, the Magdalena

I went into this debut issue knowing little about the character and her history, besides some notion of Magdalena being a warrior nun. I know she's made appearances in other Top Cow titles, but other than that, I have very limited knowledge. So I went into this book without expectations, except for the expectation that Ron Marz rarely disappoints. If you're a fan of what he's got going on over in Top Cow's flagship title, Witchblade, you're in for a treat.

If, like me, you're not familiar with Magdalena and her background, no worries. The plot is pretty straightforward, and any backstory is explained through narrative, yet without slowing down the actual story. I got the gist and ran with it. Marz has handled not one, but three (now including Magdalena) titles that have strong, female leads that deal with supernatural forces since signing with Top Cow, so trust me when I say he's in top form. While Marz may have a common theme now with female characters with mystical weapons, each have their own voice, and the Magdalena of this generation, Patience, is no exception. There's a strong opening and it doesn't let up. You have Church politics, demonic brawls, a murder mystery and that's just first ten pages. You want your demon-hunting warrior woman doing what she does best? You got it. You want a set up with Patience and a kid Anti-Christ? You got it.

I am surprised Top Cow didn't pursue the usual route and do a sort of "Year One" take on the character. But after reading issue #1, I realized there wasn't really a need for that. Marz just picks up Patience in her own series as she is in current Top Cow continuity, which makes it easier to get to the action, which is wonderfully rendered by penciler Nelson Blake II. Blake captures the intensity of the fight scenes, and just as easily nails the "talking head" moments. The inking of Sal Regla (Ultimate Fantastic Four, Fathom) compliments Blake's style. Regla's inks aren't too heavy or overbearing, and give everything a clean, crisp look that is easy on the eye. On top of that, you've got Dave McCaig coloring his guts out and Ryan Sook on cover duty.

With other companies go from big events, to tie-ins, to more big events, it's refreshing to be able to enjoy a book without having to worry about buying back issues or confusing continuity. There's even a timeline of the women who have been called Magdalena in the past, which expands the world and I enjoyed a bit of each backstory. The issue is there from the get-go to enjoy, so if you've been wanting an accessible title, Magdalena #1 answers your prayers.

The Unwritten #12

The Unwritten #12
Written and layouts by Mike Carey and Peter Gross
Finishes and Colors by Kurt Huggins and Zelda Devon
Letters by Todd Klein
Cover by Yuko Shimizu
Published by Vertigo
Review by Lan Pitts

"You're a very bad rabbit. And you're looking for a spanking."

My first read-through of the issue, I wasn't really sold on the concept and thought it more of a determent of the main story. It wasn't after my third or fourth time reading it, all the elements hit me. I felt devoured by the depth of it all, and quite frankly now that I get it, it's quite possibly the best book of the month if not of the whole series thus far. While at first it seems like a sort of children's tale in the vein of Peter Rabbit, until you realize the level of profanity that is used by the central character of the issue, a rabbit that has the most unusual name of Pauly Bruckner. Interesting name for a rabbit, right? Only problem is, that's no ordinary rabbit.

I don't mean in the Hoppy the Marvel Bunny sort of sense, no, this rabbit is actually a human. In addition to that, he's in a world that reminds me of the 100 Acre Woods and is surrounded by all sorts of children's book cliches and characters. It's only realizing the true nature of Paul's existence in the story has to deal with him botching a job and in return, Wilson Taylor (Tom's dad) put him there. Now, we know Wilson had the ability to take people and characters out of stories, but to put them IN one is a horse of a different color.

This issue reminds me of the earlier issue, and now Eisner-nominated "The Whale", as it takes a slight detour from the main plot with Tom, Liz and Savoy. Yet, it still expands their world indirectly with this revelation of Wilson's power. Of course this just built the suspense on what is going on with the trio and I have to wait another month.

The most beautiful thing about this issue is the ye ole story book art style. Huggins and Devon really soar here with the antique look of the pages. It's fresh and could be deserving of another award come next year. Unwritten #12 doesn't haven't any resemblance of the previous issues, but still has the originality and creative spirit of Carey and Gross.

If you haven't heard by now, this book picked up a few Eisner nominations and, in my opinion, rightfully so. Don't be the only reader at your shop not picking this book up.

Green Hornet: Year One #1

Green Hornet: Year One
Written by Matt Wagner
Art by Aaron Campbell
Colors by Francesco Francavilla
Letters by Simon Bowland
Covers by Alex Ross, Matt Wagner, John Cassaday, Stephen Segovia
Published by Dynamite Entertainment
Review by Lan Pitts

"Oh. Well, uh...that is a rather unique and aggressive African species. Trust me, Britt, what I just told you is true! But...if you ever encounter one of those...you'd be wisest to run in the opposite direction!" -- Daniel Reid

Having read Kevin Smith's Green Hornet and finding myself not wholeheartedly given a great first impression, this book here took the sting off a bit. This is the Green Hornet book I was expecting and will more than likely get more of. It's the character that pops out of Hornet fans' collective memory that seems to come alive once again through Matt Wagner's voice and Aaron Campbell's eyes. Needless to say, you won't find any racial epithets or jokes concerning male genitalia here.

I like how Wagner pulled a sort of "Godfather Part II" here, going back and forth between events in Britt's life that showed him walking the path that would eventually lead him wearing the fabled (and redesigned) mask. Wagner also uses the same technique with Kato's early life and decisions that are somewhat different from what I had expected and I can't wait to see how it all unfolds.

All the characters seem to be in great care with Wagner, from the Hornet, to his father, to even the thugs that are taken down. Nothing seems out of place. Wagner is aided with Aaron Campbell's very noir-ish style that fits the tone of the book perfectly. He's taken his style that he had from the Trial of Sherlock Holmes and just ran with it. It's not over rendered or over simplified, and elevates the story that much higher.

One of my first comics I read as a kid was NOW Comics' version of the Hornet, which led to my obsession with Zorro and Batman that continues today. Matt Wagner seemed like an almost too perfect choice for handling this character and his world. Any Hornet fan would seriously miss out on a fantastic read, should they not get this. The stage has been set for a great adventure ahead, and you'll find me going along for the ride.

Spider-Man Noir: Eyes without a Face #1

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

"There's an odor. The last time I smelled it was the night Uncle Ben died. I know what it is...the stench of a slaughterhouse." -- Peter Parker, the Spider-Man

Three months after the events in first Spider-Man Noir and the death of the Goblin left a void of a crime boss and there is a new kingpin on the rise trying to ascend that throne. No, not the Kingpin, actually the writers took a different approach and went with a much lesser-known Spider-villain. The book takes place in a pivotal point in history as FDR was just elected, and the New Deal is slowly, but surely working to help people recover from the Great Depression.

When the "Noir" titles hit, I devoured them and this issue is no exception which sets up a multitude of things to come. As a history buff, I really appreciate certain things and love the look of it all. The use of coloring is superb and Carmine Di Domenico's style is somewhere between Tim Sale and Eric Canete, both of which I am huge fans of. The first issue introduces some old-school Spider-villains to the "Noir-world" including Doctor Octopus and the Sandman. The tone is a bit darker than the previous installment, but you can't help but dig these sort of stories that take familiar characters and put them in this kind of pulp-styled universe.

The dialog is smart and characterization can't be beat. I especially love what Hine and Sapolsky have done with Robbie Robertson here and it really works without deviating too much. Felicia Hardy returns, with her and Peter drawing the lines of their relationship. And what they did to Doctor Octopus? Genius, though I'm pretty sure I know where this is headed.

With the darker concepts and more violent elements, it might stir some Spider-Man fans away, however, I don't possibly think I could recommend something like this enough. If you're a fan of the Sandman Mystery Theatre stories or if you read any of the "Noir" books before, check this one out.

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.

Batgirl #1

Batgirl #1
Written by Bryan Q. Miller
Pencils by Lee Garbett
Inks by Trevor Scott
Colors by Guy Major
Published by DC Comics

Well, a new Batgirl has hit the streets of Gotham like a Batgirl out of hell. Who is she? What are her ties?

Spoilers are officially on.

The issue starts with a scene out of Fast and Furious with some illegal street racing until Batgirl shows up and bursts up the scene. She's sloppy, as Batman and Robin watch her from afar. Damian notes that this isn't the former leader of the League of Assassins. No, she's "not as good as the other Batgirl", states Dick. Whether Dick means Barbara Gordon or Cassandra Cain is unclear, but we soon learn who she is. Ready for a spoiler? How about are you ready for THE Spoiler as the new Batgirl?

Yes, it's true. Stephanie Brown, former Spoiler, is the new Batgirl. I'll have to admit, she wasn't my first choice, but I think this makes sense. I'm glad it's a member of the extended Bat-family and not some random new character that comes out of nowhere. On another note, it's interesting that this assignment should go to Stephanie, since she supposedly didn't want to continue her vigilante ways. I guess old habits are hard to break. Though, I think how Stephanie inherits the mantle is a bit on the weak side.

This issue just isn't Stephanie's story. What would be a Batgirl title without Barbara Gordon making an appearance or two? Bryan Q. Miller handles these characters with dignity and poise, plus it was nice to see Babs kick a little ass. Lee Garbett's art seems a bit unfinished in some places, but his panel construction adds an easy flow to the story.

The end of Batgirl #1 is exactly what I wanted to see. It's a solid debut issue with an excellent reintroduction to an oft-maligned character. If you're a Bat-fan, you owe it to yourself to give this a try. It's a little bit more lighthearted than what has been going on in the other titles, but just as effective in delivering action and suspense.

One hundred and eleventy!

That is cream of my comic collection. Hawkman #4 and Green Lantern #14. Each have their own first appearances and each are very important to me. Of course, the first appearance of Star Sapphire is important to GL lore. However it's the Hawkman title that has my heart.



First appearance of Zatanna. She is split into two, with each of her personas speaking a weird language. Though...



Get them together and they form complete sentences. Kind of cool, especially since the Hawks had to figure it out, as well as the reader. Now the comic isn't in the best of shape. I bought off of ebay a few years ago for $15. It's kinda tan with a wavy feel to it. Like somebody poured water on it. I don't care. I mean, I'd like to get a better version later sometime in my life. I know since Z is going to have her own series in the near future, her stock is going to rise a bit.

Speaking of Zatanna...



Chris helped me score this piece. See, I don't have a deviant art page or anything like that, so he helps me discover new artists and such. I do the same for him since he had never heard of Ted Naifeh before I showed him what the man can do. The piece is by Alex Owens. It's a unique style and trippy in a way.

My magic wall is going to be full by the end of the year. I may just have to resort getting all my stuff in sketchbooks again.

Wheel of Time #0: Dragonmount

Yes, it's a bit old, but somehow I missed it. As a HUGE "Wheel of Time" fan, anybody who wants to adapt James Rigney Jr.'s, aka Robert Jordan's, epic fantasy series will have to do a lot to impress me. This attempt by the Dabel Brothers is an okay start. Not mind-blowing, but not having me want to use balefire on it (that's a reference for all the WoT fans out there). Now when I bought it, I thought I was just going to get a straight adaptation of the prologue from the first book, "The Eye of the World," entitled Dragonmount. In actuality, it's that AND and some of the story from "EotW," which was re-released as two separate books aimed at a younger market, with larger text and a handful of illustrations. One of these included an additional prologue entitled "Ravens," focusing on Egwene al'Vere, which is what shown in the comics. Chuck Dixon's adaptation is pretty good, almost word for word from Jordan's works.The main complaint I have is the art. The panel construction is a little sloppy and all the male faces look alike. I know Rand from his red hair, but that's about it. There is room for improvement and time will tell if that comes to fruition. I'd recommend it for people who have been curious about wanting to get into the series, it explains the backstory pretty well and will hopefully continue to do so. I recommend that WoT fans like myself give it, at least, a try.

Sneak Peek: Berserker #1

Berserker #1 (sneak preview)
Created and Written by Rick Loverd
Art by Jeremy Haun
Colors by Dave McCaig
Letters by Troy Peteri
Published by Top Cow

The first I remember hearing about this was at New York Comic Con this past year and it finally hits stands this coming Wednesday, June 24th.Beginning with a massive car wreck and going backwards in time to set the plot and characters, to call this book "intense" is almost an understatement. There a few clichés along the way but they don't hinder the book: a handful of individuals with devastating powers and secret organizations that want to help them or use them as weapons.

The first of these powered individuals we are introduced to is Aaron, a teenager who is kicked off his wrestling team. Not because he hits his opponent with a steel chair, but more like he snaps his arm off and almost decapitates the kid with a right hook to the face for talking trash about Aaron's girl. All the while he's being watched by a mysterious stranger that has some sort of symbol on the back of his neck that resembles pitchforks making a circle.

Elsewhere we meet our next character: Farris Jorn, waking up from a bad dream and throwing a lamp right through the wall of his bedroom. The girlfriend is annoyed and just adds it to the list of stuff to do around the house. Personally, I would have reacted a bit differently. And of course, there is another stranger outside the house. Cutting back to Aaron and his girlfriend, we learn that they've decided to skip town tomorrow after Aaron ties up some loose ends with his white trash mother.

When we get back to Farris we see he can't even stand up to his own boss. He needs his job, which is working at some sort of metal-works shop, and we find out he's seeing a therapist about his rage, but it's not working. Meanwhile, Aaron confronts his mother and he tells her the events about him getting kicked off the wrestling team and why. His mother is furious and insists he has his father's rage, "the Devil's temper" she calls it, and he storms out.

We eventually meet the stranger that was outside of Farris' place, Rowena. Apparently she is an agent of an organization called Migard, and she is confronted by an agent from what we assume is a rival organization called Asgaard, Ray. The two get into their, I guess, "berserker" mode and duke it out. Jeremy Haun's art leaves little to the imagination as it is seriously bloody and gory. It's sort of weird too since there's no dialogue during the fight, which is three pages long, it's just an all-out brawl with Rowena walking away to talk to Farris about his abilities and how she can help.

The next day at work, Farris' boss discovers that Farris has been dating a girl he's fancied for quite some time. And you know how Farris never stood up for himself? That changes mighty quick as Farris rips off his boss' arm, tossing him through a window and into a car! Needless to say, everybody runs the hell away from Farris, still holding his boss' torn arm.

We see Aaron and his girl, Courtney, on their way out of town and on to New York, however there is some trouble brewing as the friends of the guy Aaron almost killed cause Aaron and Courtney to have a car crash.

Now the ending I won't give away because it's THAT insane. Not necessarily negative, but it is a little too over the top for my tastes. I could have sworn I heard the Mortal Kombat theme play after I read the final splash page. If anything, it's a good set up for a series that will appeal to fans of the ultraviolence, I'm just not one of them.

Jeremy Haun's art is strong, I just wish Rick Loverd's dialogue had been on the level, though I'm confident things will pick up. I'm curious on where things will go from here. If you see it at your local comic shop, take a gander, just be sure not to show it to a youngster.

Trinity: Blood on the Sands

Trinity: Blood on the Sands
Writer: Phillip W. Smith II
Art: Sheldon Mitchell, Admira Wijaya, Tom Grindberg, Joe Weems V
Colors: Arif Prianto, Sunny Cho
Letters: Troy Peteri
Published by Top Cow

Last week, Newsarama showcased a 5-page preview of the Top Cow trinity one-shot, Trinity: Blood on the Sands. To be quite honest, there is a lot of story in this 25-page issue. It doesn't have just one story, but three self-containing ones that are sure to please Top Cow fans. It features the bearers of the Darkness, Witchblade and Angelus trinity during the 14th Century in the Arabian desert. Now first off, the character design is phenomenal. From the Darkness' (Idris) iron horse to the bearer of the dark half of the Witchblade (Amali), it's all really well done.

The whole issue is narrated by Idris, the bearer of the Darkness, and he sort of has an almost Shakespearean vernacular. While he doesn't actually give his origin, he does go through the Witchblade bearers (rival sisters Amali and Amani) and the Angelus (Abdul Salaam). I especially thought the Witchblade's story (entitled "Assahiya") was interesting for numerous reasons. One, being the art. Admira Wijaya's art is spectacular. Actually, calling it even that is an understatement. There is such drama and expression behind it and reminds me of the Hildebrandts. What's also interesting is how it's told. It's almost entirely in narration with maybe one or two actual speech balloons. It's tragic, yet reflects the current War of the Witchblades. It gives you something to think about.

The Angelus story's ("Chermera") art is done by Tom Grindberg, who I'm a big fan of. At first, this story didn't make a whole lot of sense, since Smith used a lot foreign terms. However, I later noticed that he included a glossary, which is a great asset with these sorts of stories. All of the titles to the chapters mean something significant, ie "Chermera" is the site of an ancient temple is Norther Iraq. Smith did his homework and it adds a little something special to the issue.

It's definitely not for the kiddies though, but I'm sure if you're familiar at all with these characters you were aware of that. There's plenty of action played out, it sort of feels like an old Conan story. Bottom line: I say pick it up if you're a Top Cow fan, or just willing to try something a little out of the ordinary.

Wonderland Annual 2009

Story by Dan Wickline and Raven Gregory
Written by Dan Wickline
Art by Dave Hoover
Colors by Gary Henderson
Edited by Jenna Sibel and Raven Gregory
Published by Zenescope

Our story starts with a new family moving into the old Liddle house, which is almost a character itself in the series at this point. The family consists of Eric (the father), Ann (the stepmother), Tracy (the 16 year-old daughter), and Ben-- the youngster with SCIDS, who has to be moved while inside a large clear plastic box. While Tracy is putting things away in the basement, she finds an old diary with the name "Alice" written on the first page. Tracy wants to show her brother the stories inside but Ann takes it away, fearing for Ben's safety because it has to be sterilized. Of course Tracy knows that and states that she's been taking care of Ben longer than Ann. Tracy storms off as she goes to make Ben some lunch. The interesting thing here is that then Ben asks for a Coke, but he isn't supposed to have any soda. A small digression: David Vetter, aka the famous "boy in the bubble" who had the same ailment, always wanted to try Coke, but the sterilization process required to insert it into his bubble ruined the taste.

A few days later Tracy stays home to wait for the plumber to work on the hot water heater in the. Tracy leads Mike the plumber down to the basement, and that's where things get a little heated. Tracy starts to undress and practically attacks the guy. Too bad for Mike, her dad walks in and punches the guy straight in the face-- knocking him to his feet while yelling at him that Tracy is only sixteen. Tracy again storms off and attends to Ben. Meanwhile we see a familiar shape in the blood spatter from the punch: a malicious-looking rabbit.

Obviously with that sort of behavior, Tracy is grounded. Ann goes up to check on Ben and sees that he's been most prolific with his art, drawing horrific scenes featuring creatures like spiders with one eye and blades for legs or snakes made of razors. And of course, he has drawn a dead white rabbit. The parents leave for the night, leaving Tracy in charge of Ben and household. Things get creepier however when Tracy notices a blank page on Ben's wall. "That's the rabbit. He's out looking for something." Sure enough, a few pages before we notice the white rabbit in various places throughout the house. When the parents return, Ann goes to bed while Eric tries to talk to Tracy which doesn't end well because now HE'S seeing the white rabbit. Everywhere. Ann convinces him it's just exhaustion and he joins her in bed.

The next morning, while Tracy and Eric are at the dentist Ann checks on Ben and thanks him for taking the spiders down. As she walks off, Ben says he didn't take them down. Sure enough, Ann gets attacked in the shower by the spider creatures and ends up impaled over the broken shower door. Pretty gory stuff here. Ann's funeral is in a few days and as Tracy and her father come back to the house, they are greeted by Mrs. Moreno who insists on staying outside of the house since she knows the history of the Liddle family and their gruesome history. Too bad Tracy and Eric sort of blow her off.

Eric tends to some of his art but notices the white rabbit in one of his paintings and soon after is attacked by the snakes made of blades and is quickly shredded to death. Tracy runs down to check but finds herself on the run from a man, thin like paper, with a sword. She tries to sneak away but he easily slides underneath doors. Tracy goes to check up on Ben, but that's when we realize the creatures are coming out of his drawings. Tracy runs to the basement, but is followed, however manages to bust a pipe blasting the paper man away. Though a bookcase knocks her down. . . as the room is quickly flooding. Back upstairs the white rabbit finds Ben in his plastic room and sits and waits. Too bad his windows are tightly sealed as well. Nobody can hear him scream.

Obviously despite the "Wonderland" name-- this book, much like several other titles that carry the Zenescope name, is not kid-friendly. I've been a fan of the series for a while, though it's honestly never been one of my monthly pulls. This 46-paged annual plays out like a creepy movie. Dave Hoover's panel structure is strong and not at all bumbling. One complaint though: Ann and Tracy look sort of too similar. Both in body type and facial features. Wickline's script is pretty easy to read and follow. This annual is continuing with the tradition of the "Wonderland" series quite well, and for that reason alone deserves a look-see.

The Incredibles: Family Matters #1

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

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

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

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

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

War of the Witchblade Begins Now.

Witchblade #125
From: Top Cow
Writer: Ron Marz
Art: Stjepan Sejic
Covers: Chris Bachalo, Stjepan Sejic

For more than a year now, the Witchblade has been split between two bearers, NYPD Detective Sara Pezzini and aspiring dancer/Police Captain's daughter Danielle Baptiste. They have coexisted peacefully, becoming almost like sisters, however Witchblade #125 is the beginning of the end. Starting with this issue, the six-part “War of the Witchblades” arc will change Sara, Dani and the Witchblade forever. Sara has been Dani’s friend and mentor, but now she becomes her bitter enemy. By the end of the storyline, only one bearer will remain.

Once again, I am floored with Sejic's art style. His attention to detail and overall presentation is just immaculate. Ron Marz's run on Witchblade continues to be one of my favorite run in comics and this upcoming arc looks to be one of the big events of the year. If you haven't been reading, this is a good place to start to see what you've been missing. There's even a sort of "Previously in Witchblade" note that catches you up on things. More comics today desperately need things like that.

Though I have to advise you, readers. There is not a whole lot of action and fighting scenes going on in this one, but the set up has been planted. There is a lot going on though: Sarah visits her sister in jail, Dani may have had an epiphany, and Patrick Gleason is trying to figure out his place in all of this. Oh, and of course the Angelus and the Curator are around to do their mystical business.

There is also a backup story written by Rob Levin and art by Marco Castellio which serves more of a quasi-backstory for Patrick's Character. Though it only leaves more questions and more mysteries to be solved. That's a good thing, trust me. Witchblade #125 hits stores on March 18th.

Amber Atoms #1

Amber Atoms #1
Story and art by Kelly Yates
Colors by Michael E. Wiggam
Published by Image Comics
Review by Lan Pitts

In the style of Flash Gordon and Ender's Game comes AMBER ATOMS. A sci-fi/adventure comic with a rich layout and wonderfully drawn characters and landscapes. The story begins with a sort of prolouge: the Dar-Tongo (ape-like creatures) reign is over and peace in the galaxy can start again. Flash forward to several generations later. The ruler of the Dar-Tongo, King Yamoon, even goes on a talk show and discusses how there is no animosity towards the "Great Rebellion" and assures the general population his race has grown and matured. Meanwhile, our heroine Amber Atoms is going after an assassin droid that got loose, but then her father shows up and finishes the job since he thought his daughter couldn't cut it.

Meanwhile on Richaati, Heart of the United Worlds, King Yamoon is handed some interesting news. His approval rating has just come in and he has placed third in the polls with all indications of further upward movement. The king's response: "Yes, excellent. Everything is going according to plan." Crafty little creatures. Back at the Atoms' dinner table, there is some heated words between father and daughter. Then, Amber is sent out to power off her workshop, but when she comes back home, she sees her mother on the ground and her father being man-handled by a blue-skinned warrior. Amber is spotted and one of the intruders open fires, but Amber escapes. However, Amber is shot from behind by a giant ant creature before she could make it to her weapons shed. Talk about a cliffhanger!

I really enjoyed this issue. Kelly Yates has a great style. Not just in his art, but the way how he presents it. The pages are never cluttered and incredibly structured. Now, there are a few spelling errors: poles, should be polls, for example. Nothing too outrageous that it didn't take me out of the story, and I'll just chalk it up as a rookie's mistake. Yates is doing a one-man show here and I can't give enough kudos for creators like that since he did the story, art and cover. He is accompanied by Michael E. Wiggam on colors, who did coloring on some Star Wars books and he just knocks it out of the ballpark. The best part, I thought anyways, was how Yates never went into how Amber is a girl. She's just Amber. She's a kick-ass character, though she may not exactly be the best at what she does. I also enjoyed the kid-friendly vibe from it. Easy to read and easy to understand, this would be a great book for a young comic-reader in the family. With the economy the way it is, it's a shame there isn't new material like this since books like this aren't really selling well. Image took a chance with this one, and I'm glad I took a chance on picking it up.

Wonderful Wizard of Oz #1 review

The Wonderful Wizard of Oz

WRITER: ERIC SHANOWER
BASED OFF OF CHARACTERS BY L. FRANK BAUM
ART: SKOTT YOUNG
LETTERED BY: JEFF ECKLEBERRY
PUBLISHED BY: Marvel


By now you should be familiar with the story of Dorothy Gale, the young girl from Kansas that is whisked away to the magical land of Oz where she encounters Munchkins, Good Witches, Wicked Witches, a tin man, a scarecrow, lions and tigers and bears... Sorry. I got a little carried away there, but you get the gist. Unlike MGM's legendary film, this mini-series is a more faithful adaption of the actual "Oz" lore, created by L. Frank Baum.

The issue is written by "Oz" enthusiast Eric Showaner and calling him a fan of the world of Oz is an understatement. His first major published works were the OZ graphic novels, which were released by First Comics and Dark Horse between 1986-1992. He has also written [i]and[/i] illustrated a full-length "Oz" novel, "The Giant Garden of Oz," and a collection of short Oz stories, "The Salt Sorcerer of Oz". Like I mentioned, the man knows his stuff.

The art is done by Skott Young, and it's exactly what this book needs. It is kid-friendly, cute, cartoony and I am an adamant supporter for comics aimed for a younger audience. The time line of this first issue (the book is a nine issue mini-series) spans from right before the twister that takes Dorothy to Oz up to right after she meets the Scarecrow.

Those of you who are only familiar with the Judy Garland version, should really try to pick this up. If not for yourself, then perhaps for a young reader in the household. He or she won't be disappointed, but possibly a little confused since the movie has a lot of differences. It's nice to see the original novel getting the comic treatment.

In cased you missed it...Contract #0

CONTRACT #0
Story by Garan Madeiros and Charlie Shell
Art by Dave Ross, Sal Velluto, Kevin Sharpe, Ariel Padilla, and Mark McKenna
Published by First Salvo

When I first even heard about this book, it was on my comic shop's list of titles for the upcoming week. I feel it's important, nay, almost an OBLIGATION to at least check out some independent titles on occasion. You don't want to be that sucker that's missing out on a great read just because it doesn't have the press machine that Marvel or DC has.

To quote the Diamond's May Previews: "In a capitalist world's dark future, Mercenary is no longer just a soldier for hire. It's a way of life. Law is enforced by cyber-powered Mercs and life or death is decided by the lowest bidder. There is no right or wrong beyond the price in hard currency. Jessie Garrett, however, is everything most Mercs are not: honest, selfless and determined to bring order to greed-hardened worlds, driven mad by money. But when a corporate kidnapping goes wrong, Jessie, and fellow Mercs, Panzer and Tsumi, get in over their heads."

Now, just reading that I had a flashback to 9th grade games of Rifts after school. Also, the main character, Jessie, looks like an amalgamation between Marshall Bravestarr and Judge J.B. McBride, but I think that's just me. The story is pretty solid. Madeiros and Shell don't just have a script, they have a world. It's not as bizarre as the Marvel 2099 future, but outlandish and entertaining enough to have kept me interested to where I wonder what will happen next. It's seriously a fun read, sort of what "Battle Chasers" was, only in a cyber-western environment. One complaint though, similar to what Robert Jordan did with his epic Wheel of Time series, I would include a glossary in the front or back to explain some of the terminology. Just like how I wish Peter David had included one on his "Dark Tower" series.

A plethora of artists worked together, though the one that stood out for me was Kevin Sharpe. His style is almost J. Scott Campbell meets Adam Hughes. I would love to see this guy become just as popular as the forementioned artists. Any fan of such shows like "Firefly" or the mutually short-lived "Bionic Woman" would love to get a hold of these issues when they hit shelves. Though that itself can be problematic. A lot of big chain stores don't order independent books like this unless it has huge press behind it. Or possibly is about to made into a movie...or some ordeal like that. So more than likely you are going to have to ask for this (I had to at my girlfriend's shop) so it CAN fill the shelves. Okay, so maybe not fill the shelves...that would mean nobody is buying it. You get the gist though. Now, the company knows you are taking a risk on an unknown, independent comic so Contract #0 will only cost you a mere $0.25! So, if you've got the time, and the spare quarter, check this title out. What do you have to lose?

Cyblade #1 Review

Cyblade #1
Written by Joshua Hale Fialkov
Pencils by Rick Mays
Inks by Sal Regla
Colors by Guru-eFX
Letters by Troy Peteri
Edited by Rob Levin
Published by Top Cow

Cyblade was one of two books fans voted for in Pilot Season 2007 to get its own series. The creative team who worked on the Pilot issue, writer Joshua Hale Fialkov and artist Rick Mays, return to work on the series. French born Dominique Thiebault is a former team member of Cyberforce and was once a blatant rip-off of Psylocke. The new series, however, is a prequel to her adventures on that team. Now we meet nineteen year old Dominique, whose ability to generate electromagnetic blades manifests during an armed attack on her school. After some years pass, Dominique becomes a "Special Hazardous Operations Cyborg" or S.H.O.C. trooper for the malevolent corporation known as "Cyberdata", who provides her with the cybernetic upgrades that turn her into assassin/warrior Cyblade. It isn't until she leaves Cyberdata to join Cyberforce that she realizes the extent of the crimes she has committed in Cyberdata's name. Fialkov's series is set in the beginning of Dominique's career as a S.H.O.C., as the hero gradually becomes aware of her employer's choosing. With the help of a spy sent to infiltrate the company, Cyblade has broken free from Cyberdata's control. She must find a way to escape from their clutches for good, while trying to discover who she really is beneath and choose her own destiny.

If any of this sounds familiar, it's because it should. The assassin with amnesia bit has been slightly played out through the years. From Wolverine to Jason Bourne, and with Christian Slater's new gig on "My Own Worst Enemy" added to the list, it seems a tad passe. The obvious main difference is that this time it's a young girl who is the killer/weapon instead of some middle-aged male. I never got around to reading the one-shot last year since the name "Cyblade" brought back bad memories of the oh so gritty 90's. I recently tracked it down in one of my local shops, in the $1.50 bin, so there wasn't much to lose. To be honest, I surprised myself and rather enjoyed it, though I kept reminding myself I paid what was basically half-price for it.

I digress. Cyblade: Agent of Cyberdata is just so-so. It's definitely not the best, nor is it the worst out there. The dialogue is well-written, even if it's not the most original concept on the market. Mays' pencils are solid. . . most of the time. There are times where his figures look awkward and uncomfortable. The coloring is hit and miss as well. The laser blast and shower effects look spectacular. However, when it comes to Steven Rashall (the agent helping Dominique plan her escape) and his shirt, it looks as if he is sealed inside of it.

The book has plenty of room for potential and improvement, though I admit I'm intrigued on where they plan to take Dominique from here. While reading one thought kept crossing my mind-- of all the characters, why do just one, and so one-dimensional? It is clear that even the smallest characters can have the biggest fans. And hey, at least it's not a Bloodwulf spin-off.

Lock and load! 13 Chambers and Green Lantern #35

13 Chambers
Created and Written by Christopher "mink" Morrison
Art by Denis Medri
Coloring by Romina Denti
Covers by Paolo Parente
Lettering by Michael David Thomas
Published by Image Comics

Recently, Newsarama interviewed the creator and writer of this series, Christopher "Mink" Morrison, and he explained what it was all about. Well, I read the first issue this week and I'm interested in how it will play out. "Chambers" is a western set in an alternate history during 1860's. In this universe, thirteen U.S. marshalls, each carrying a high-tech 13-chambered pistol, have been enforcing the law until a new president deemed the weapons too dangerous. 13 Chambers is the point of view from the 13th Marshall, who was assigned to retrieve the other weapons and return them to President Jackson so they could be archived. All is going according to plan, until the Marshall arrives in a town known as Four Corners, where a tyrannic mining tycoon named York has killed the 12th Marshall and stolen one of the Peace Keeper pistols. Now, the Marshall must retrieve the pistol and bring the tyrant to justice...or die trying.

The issue starts off with a diagram of what one of the Peace Keeper pistols looks like. Beautifully drawn by Matthias Haddad, it shows how the chambers work with the multiple triggers on the handle. Denis Medri's style resembles a mix between modern artists Mark Brooks and J. Scott Campbell. Amazingly drawn figures as well as solid panels, complemented by Romina Denti's coloring skill, makes for one spectacular looking book. The first issue establishes the tone pretty well. A classic Western tale, similar to Michael Fleisher's run on "Jonah Hex", with a little bit of Indiana Jones sprinkled in.

The line between good and evil is drawn pretty well here. The hero is tough and handsome, the villain is sinister and resembles a combination of Voldemort from "Harry Potter" and Tex Hex from BraveStarr, making it easy to read and recommend. Perhaps I'm slightly biased, being a fan of the western genre, but I really appreciated this book and I am looking forward to what this title brings to the table. With the market saturated with tie-ins and continuity-heavy books, 13 Chambers is a pleasant addition to anyone's pull box.





Green Lantern #35 (DC; by Lan): Issue 35 is the finale of the Secret Origins, and once again the team of Geoff Johns, Ivan Reis and Oclar Albert make for a smashing good read. Interesting though, is that this issue doesn't do the DC usual of the first page being a splash page. There is not a whole lot of action going on in this issue, but the interaction between the rookie Hal Jordan and the more experienced Sinestro left me wanting one thing: a Sinestro origins mini-series showcasing him as the "greatest of the Green Lanterns". It's interesting to see Sinestro, one of comic's most heinous villains, as a hero and a mentor. We've heard the story numerous times about how great he was, but to have seen it is something else. Something great!
Overall, this was a solid issue. It brings some resolution to the arc, tying up some loose ends while giving a tug to a couple other loose ends. We get some nice "continuity nods" that long-time fans should be able to pick up on, that show that this story isn't ignoring what's come before. Even though this is the "post-Infinite Crisis" origin, nothing really changes or maybe I just didn't see it. As the conclusion of a story, I couldn't have been happier, but it gives us a glimpse of what's to come.