Artifacts #3 review

Artifacts #3
Written by Ron Marz
Art by Michael Broussard, Facundo Percio, Stjepan Sejic, Paolo Pantalena, Sheldon Mitchell, Nelson Blake II, Sal Regla, Rick Basaldua, Joe Weems, Sunny Gho, and IFS
Lettering by Troy Peteri
Published by Top Cow


"There is a war coming. Between those who embrace the future and those who resist it. My master will win that conflict." -- Aphrodite


Thou shall not covet Ian Nottingham's sword.


Ladies and gentlemen, it probably isn't much of a spoiler to know that Ian Nottingham is back (he's on the cover) and kicking ass with his best feet forward and doesn't have time to take names. Well, frankly, he just doesn't care. The prison guards knows he's dangerous, we as readers know he's dangerous, but it's still good to have a scene as we do in the first few pages as a simple reminder at how lethal this man really is.


Last issue, Sara, Gleason, Dani, Jackie and Tom Judge get ambushed by a small horde of demons. It's not a huge part of the story, but makes them realize that somebody/thing is after them and it's over before you know it. It's a good scene to show readers what these characters as a whole and as a unit can accomplish. I love Broussard and company's attention to detail from the Darkness' armor and darklings, to Sara's armor and facial features. While we get more of an idea of the major players and Artifacts, as told by Tom Judge, this isn't really the heroes' story. No. This issue belongs to Aphrodite IV.


If there is one thing we've learned from the Top Cow Universe is that this cybernetic she-devil is beyond a force to be reckoned with. While she's low-key on the action here, her cunning ways are in full force as she makes a trek around the world to gather a resistance to Sara's alliance. Familiar faces abound, as lines are drawn in the sand. A war is indeed coming and you would have to cut the tension with diamond-edged chainsaw. The thing here is that twists are still coming. Three issues in, and some of the Artifacts are already changing hands in a sort of mystical, murderous, musical chairs sort of way.


Ron Marz has crafted an engaging series thus far. There are many players coming and going, but you get a sense of who they are and what purpose they serve to the overall story. For the more forgetful fan, or somebody who is not as enriched in Top Cow lore, there is an index of some of the characters that were highlighted in the issue. Just something to make the experience more accessible, and in turn, enjoyable. After last issue, I felt it was more set up, but in the process lost a bit of steam. Then again, with a strong first issue as Artifacts did, it came across as lighter in comparison. I feel as thought we've regained some of that lost momentum and back on track with this third issue.


Michael Broussard is aided by a complementary team that still keep the feel of his style, but there are parts here and there that you know were all Broussard and when they weren't. It's not a distraction by any means, and still held up a solid pace to the story.


Thirteen issues might seem a lot to tell a story, but with the pacing and plot developments, it's the story that Top Cow has been needing and is long overdue.

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.