It Has Ended: Harry Potter and the Deathly Hallows Part 2

A movie franchise that has spanned 10 years and that has kept primarily the same casting which consisted of 8 movies is quite a rarity. The Harry Potter series is genuinely one of a kind and have defined a generation. It has had an impact on pop culture and quite simply, something we may never see again in our lifetimes. The final installment of the movie series, one that was split into two parts, was released in theaters this past weekend and it certainly conveyed the emotion from the novel with epic battles and some heartbreak.

David Yates starts the movie without a recap or a "previously on..." deal here. Just a reminder that Voldemort has robbed Dumbledore's tomb and is now possession of the Elder Wand. That works best here and doesn't bog the pacing down and we can just jump right in. One thing I noticed off the bat was the lack of music. Yes, there is still music in the film and John Williams' unforgettable tune that is now forever associated with Harry and Hogwarts is there, but it's mostly faint and unassuming. It's not drowning in music like the Star Wars prequels, but I felt at times like I was at a funeral, it seemed that quiet and a bit awkward. It does pick up, of course, during the battle for Hogwarts and damn is it good.

It's interesting to see Daniel Radcliffe with the heroic stubble that is almost cliche now, but here he stands a man ready to face his mortal enemy, so I think it's fair that he looks the part. I've been on a bit of a re-watching spree as of late, and to have seen Daniel, Emma and Rupert grow up before our eyes. Their characters no longer have that glimmer of wonder and magic in their eyes, but the sunken visage of despair and fatigue. When the series started, it was filled with new magical worlds full of whimsy and discovery, now the once shiny pillars of Hogwards lay in ash and ruin and even I shed a tear as the Quiddich field burned and crumbled.

There is a lot going in this film, mainly because the second half of the book is where the action was while the first part set everything up accordingly and pulled no punches. Part Two continues that trend and allows proper time to give the battle for Hogwarts to play out and not be rushed and leave ample time to see pivotal parts of the book played out. I shudder to think what would have happened should this have been crammed into a single film. This really did get the treatment it deserved.

While it's certainly Harry Potter/Daniel Radcliffe's story, the minor characters really take the center stage, especially during the last half of the film. Maggie Smith who has played Prof. McGonagall throughout the series is a domineering force inside the body of an elderly woman. The fact that she was going through chemo treatments for cancer and still managed to work through this rigorous shoot displays what courage really is and does her character justice as she has in the past decade. Matthew Lewis who started out as awkward and clumsy Neville Longbottom, has become something of what embodies a Gryffindor. Neville shows bravery and even has a moment in defiance towards the Dark Lord himself. He's come along way from being bullied by Draco while practicing broom riding.

The scene-stealer here is Alan Rickman. Rickman, the legendary British star, was Rowling's first choice to play Prof. Severus Snape and does so here again as he has in the previous installments, gives Snape a voice and a performance that truly shows how complex the character is. I won't give away spoilers for those have yet to seen the movie or read the book, but it goes to show you in the world of Harry Potter, nothing is what it seems.

The final showdown between Harry and Voldemort actually comes across as anti-climactic. It's a bit of a breather since the Hogwarts battle just took your breath away with the special effects and tension you're feeling, especially for the fans of the series who knew what was coming. Ralph Fiennes once again dons the sans nose make up of Lord Voldemort and truly captures what a great villain can be. The scene with Snape in particular demonstrates his capacity for evil and his ruthless aggression.

Harry Potter and the Deathly Hallows Part 2 wraps everything up as Rowling intended, but should she continue on the legacy of the Potter stories, there is room to do so for another generation. The epilogue from the book is there as well, but I feel it would have been better with actual older actors instead of the current cast with just make up. I fear it doesn't translate well and we still get the impression they are early twenty-somethings instead of people almost forty. That is a small knit-pick out of a flawless adventure that concludes a story that will be enjoyed for generations to come.

Moriarty #1

Moriarty #1
Written by Daniel Corey
Art by Anthony Diecidue
Lettering by Dave Lanphear
Published by Image Comics
Review by Lan Pitts

I am sure almost everybody knows of Sherlock Holmes and James Moriarty: one of the greatest literary rivalries of all time. Yet, what is a villain without a hero? Moriarty takes a peek at what happened when the fateful death to both Homles and his arch-nemesis, turned out to just end Holmes and left Moriarty wandering for a purpose. In his travels and life without an adversary, the legendary professor has evolved into something that mirrors Holmes. The idea intrigued me and was immediately sucked in.

The book starts has an interesting timeline, and is set during pre-WWI, around the time of the assassination of Arch Duke Franz Ferdinand, and talks of his killing and the association with the Black Hand are the talk of the nation. We see Moriarty, now under the alias of Trumbold, working as a somewhat businessman that still carries some ties to the criminal underworld. Without Holmes, Moriarty has become complacent and a little bored.

It's not long before the government comes around and asks for his services to find Sherlock's brother, Mycroft. Who is he to refuse the chance to hunt down another Holmes? Better yet, they are aware of who he is and what he is capable of. This is where the story picks up its stride. We see inside the mind of Moriarty, we see his tactics, his self-imposed rules of getting things done. Doyle wrote Moriarty as the equivalent to Holmes and now we see why that is. The hung for Mycroft leads the reader and the old professor into a series of events that hint at a bigger picture, and the fact he soon as a shadowy figure of his own to conquer.

I do love the touch of knowledge Daniel Corey brings to the script, however, where I think the story falters, and this is me nitpicking here because I did rather enjoy it, is the actual narrative. To quote a line from Amadeus, "there are too many notes". While Dave Lanphear executes the lettering layout wonderfully, I think somethings just did not need to be said as they were specifically shown via Anthony Diecidue's art. While I do understand that this is Moriarty's story, but at the same time, I think most readers could deduce what is going on.

Speaking of Anthony Diecidue's art, this is a perfect example of a great collaboration of story and artist. Even in the slower parts of the issue, Diecidue elevates the bits with his mysterious tone with heavy sketch lines and rendering that give this early Guy Davis vibe. The layouts and scenery in old London town have an edge of macabre with lots of shadowy effects that perfectly set the stage for a mystery.

Moriarty is a great example of something that is for people who are not really into superheroics or mega-events. With the Big Two both with event-heavy series, this could be the one for people who want to try something a bit different from the norm. I can't wait to see where this goes.

Let's get dangerous with Darkwing Duck Annual #1

Darkwing Duck Annual #1
Written by Ian Brill and Tad Stones
Art by Sabrina Alberghetti, James Silvani, Lisa Moore, and Andrew Dalhouse
Lettering by Deron Bennet
Published by BOOM! Studios
Review by Lan Pitts

Not every villain starts off as a villain. There comes a time when a man, or duck, must make his own path and either walk down the road of virtue and heroism or the more sinister and villainous path. In the first Darkwing Duck Annual, we dive into the origins and psyche of Darkwing's comical criminal, Quackerjack.

As most kids who grew up in the early 80's to early-to-mid 90's, I watched some of the best cartoons. Disney was putting out some of their best work in a while ranging fromTalespin, Ducktales, the more "grown up" Gargoyles, and of course, Darkwing Duck. Being the only direct Ducktales spin-off, it was different from the other shows as it was a completely different character. Other shows at time had characters that had been around for a while, but Darkwing was new, cool, and just fun. The Darkwing Duck comic that BOOM! has been putting out is exactly everything a DW fan would ever want and then some.

There are two stories inside this annual. Unconnected, of course, but nonetheless fun, smart, and almost a bit heavy for the characters. The ending of the first story, "Toy With Me," which deals with Quackerjack's origin, is kind of sad, and I found very unexpected, but still very smart for what is considered a "kids' book." Again, the same with the second story, "The Untimely Terror of the Time Turtle," — it is smart, inventive, and just plain fun. The fact that Drake Mallard (DW's alter ego) is just as befuddled with the physics of time travel as the next guy, shows that it still doesn't take itself too seriously. Also, the fact that Tad Stones, the creator of Darkwing Duck penned the second story is just a real treat all by itself.

While both Sabrina Alberghetti and James Silvani deliver classic Darkwing imagery, I found that Andrew Dalhouse's colors popped just a bit more on the page, in comparison to Lisa Moore's. Nothing too drastic, but just something with an added oomph, as it were. Both put down creative panel layouts that were never boring and were actually quite dramatic in some instances. Great use of angles, especially on Alberghetti's half.

Darkwing Duck Annual #1 reminds me what it was like being that kid again who rushed home to make sure he didn't miss an episode of the TV show. It's good to see that the adventure lives on.

Streets of Gotham #19 review

Streets of Gotham #19
Written by Paul Dini
Art by Dustin Nguyen, Derek Fridolfs, and John Kalisz
Lettering by Steve Wands
Published by DC Comics
Review by Lan Pitts

"Remember what Aristotle says, 'a common enemy unites bitter enemies.'" -- Tom Elliot, aka Hush

For the past twenty years, Paul Dini has more than penned great Batman stories; he's added to the overall mythos of the character. His and Dustin Nguyen's Heart of Hush arc from three years ago, remains one of my favorite Bat-stories of the decade. Dini and Nguyen and company may have caught lightning in a jar once again with the ongoing House of Hush arc.

The thing about this particular issue is that there is so much character depth added, that it makes the overall story that much enjoyable and lively. From Hush's past, to his ties with the Wayne's and the rise of his criminal factions, to even a scene that ties Thomas Wayne and John Zatara together, it's more fleshed out than how most comic writers handle Batman and company. Batman just isn't Bruce Wayne, Prince of Gotham. Batman is also about the city he protects and how each denizen has a thread that weaves a bigger web.

Streets of Gotham #19 gives a good deal of insight to the Anthony Marchetti character as Dini establishes more of the character's past and tells the story of a one-time encounter with Gotham's favorite clown, the Joker. Truth be told, this issue is more of a character piece that explores a little-known character and expands what we should know, adding to the criminal underground, and also adds to what we already knew: the Joker is bat-nuts crazy. There is not a single fight scene or action sequence. Just a story of a child that grew up in the crime business in Gotham, but still somebody who Hush considers valuable to align himself with. Batman (Bruce Wayne) doesn't show up until almost at the end, where the Thomas Wayne/Zatara scene comes into play.

This creative team is one of the best working in comics today. Dini never disappoints, and Dustin Nguyen is a workhorse that knows no limits. His use of painted art-deco backgrounds adds that extra bit of beauty that certainly makes it stand out. Derk Fridolfs inks over Nguyen's pencils are superb. I've seen others try to handle Nguyen's style, but none quite capture the angular look that Nguyen brings without looking jagged or too sharp. John Kalisz adds the perfect color pallet that complements both Nguyen and Fridolfs, but that's exactly breaking news, as he's another colorist who is always on top of his game.

With Streets of Gotham coming to a close soon, I'm sure the finale will deliver the proper curtain call that this book has deserved.

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.

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.

Random reviews

Magdalena #2
Written by Ron Marz
Pencils by Nelson Blake II
Inks by Sal Regla
Colors by Dave McCaig
Published by Top Cow

“The Church has been sacrificing my ancestors for a thousand years. If you truly think that’s going to change…you’re more gullible than those people taking Communion down there.” — Patience, the Magdalena

Talk about hating your job, huh?

The Magdalena team (or as I call them in my head: Team Mags) are two for two with the second issue of Top Cow’s newest ongoing series, Magdalena. Ron Marz continues the story of Patience, this generation’s Magdalena, as she is trying to find her place and destiny in a world and Church that she’s at constant odds with. Meanwhile the Son of Satan, no, not that one, is planning another demon summoning since Patience just wiped the floor with the one he had sent earlier.

The plot doesn’t advance that much, but what this issue really showcases is Patience’ relationship with Kristoff and the Cardinal. Kristoff wants her to do what is right and her birthright, while the Cardinal sees her as more of subservient and merely a tool similar to one you could buy at a Home Depot should the one you have breaks. Though, at the end, Patience accepts her mantle but will no longer work for the Church, but rather with them. I’d like to see how long that notion lasts.

Nelson Blake II’s art is good. Great action shots with the demon slaying, great layouts for the more subtle moments, with terrific character design and is on par with Marz’s story. Sal Regla’s ink also add an additional visual layer and topped with Dave McCaig’s exquisite colors just make the whole package that much cooler.

If you don’t know by now, the previous issue started a firestorm of rave reviews and positive nods all around, eventually selling out. Don’t be left out of some good times and pick this book up.

Joker's Asylum: The Riddler -- One Shot
Written by Peter Calloway
Pencils by Andres Guinaldo
Inks by Raul Fernandez
Colors by Tomeu Morey
Letters by Patrick Brosseau
Cover by Ethan Van Sciver
Published by DC Comics
Review by Lan Pitts

"Were you born with the ability to make an entrance at the worst possible time, or is that a skill you've honed?" -- Edward Nygma, the Riddler

Much like first Joker's Asylum series, this continues the idea of Joker as a sort of Cryptkeeper character, and narrates a story featuring one of Batman's rogues gallery. Now, of all the issues in the last Joker's Asylum, I felt the Penguin spotlight by Jason Aaron and Jason Pearson was the strongest. Riddler is one of those guys that I've always felt drawn to (my tattoo on my calf speaks for that), and always seems to be lost in the shuffle. He's been portrayed as a sniveling twerp in such works as Long Halloween, to a mastermind in Hush, to now a private detective that could be walking down the dark path once more. In this one shot, he's definitely striding down a darker road than I've seen him in a long time, if ever.

The issue comes across as a character study for Nygma, especially the notion that he suffers from an extreme case of OCD. He falls in love with an art student and tries his best to win her over. Nygma goes the usual route with trying to woo her from flowers, chocolates, jewelry, etc, however the young woman returns all of the items. So, something clicks in Nygma's mind, basically him trying to solve the riddle of her love. However, when he finally gets her attention and admiration, it's under interesting circumstances, but the twist is...the "riddle" is solved, and Nygma doesn't care anymore.

From there, it starts to fall apart. I've never figured the Riddler as a killer and while Calloway is a great talent, I think he's trying too hard here and thinks it's a bit more cleverer than it actually is. We've known Riddler might have a sort of Tyler Durden situation going on here, and this story eggs that idea even more. I don't know if Nygma would just give up that easily. He's too obsessed for that. Plus, I've always seen him as sort of asexual, since the puzzles of the world, and money would be all he ever wanted.

Character disagreements aside, I think Calloway did a great job here in capturing Nygma's obsession and dialog. The Joker's narration gets distracting at times and in some places, not really needed. Guinaldo's art doesn't blow me away, but is still pretty excellent with a great panel construction and easy story flow. I wanted to like this issue more because I'm a huge Riddler fan, but it just fell flat.

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The Unwritten #14 (Published by Vertigo; Review by Lan Pitts): WWE Hall of Famer and wrestling legend "Rowdy" Roddy Piper has famous catchphrase: "Just when you think you have all the answers, I change the questions." That sums up this issue of my favorite series. The new Tommy Taylor book release is right around the corner, and it's a slow build to what is about to go down. A trap has been set, and it just gets crazier by the moment. We see a little hint of behind the scenes of the forces out to get Taylor and company. Calling it "weird" is an understatement. Mike Carey and Peter Gross continue this series that leaves the reader wanting more, yet never wanting the mystery to end.

This week in trite reviews.

Daredevil: Cage Match -- One Shot
Written by Antony Johnston
Pencils by Sean Chen
Inks by Sandu Florea
Colors by Matt Hollingsworth
Letters by VC's Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"You and me, Fogwell's Gym, tomorrow night. A grand each, winner names a charity. What do you say?" -- Matt Murdock, Daredevil

This issue harkens back to some nice 1970's nostalgia, so readers who aren't reading the current series under Andy Diggles direction, fear not. Though saying that, this isn't the brooding rooftop hopping, ninja clan-leading Daredevil now, the one in Cage Match is bit more fun-loving, but still street tough.

So, on a nightly routine, Daredevil and Power Man Luke Cage quickly take down a gang of street kids, but Luke feels Daredevil has lost a certain edge and feels like he needed the help. Daredevil being on the defensive, challenges Luke to a boxing match and the loser pays the winner's charity of choice. Matt confides to his partner Foggy about the deal, as Luke tells Iron Fist (in the middle of a brawl no less) about the situation and both partners agree it's a bit odd to do that, but Luke and Matt understand there's a bit of pride at stake.

The notion that these two heroes would duke it out paints both characters as something different from what they are perceived now, especially Daredevil. It's nice to see his portrayal as not just a Batman archetype but as something not so brooding and to see him do an act like this is a nice change of pace. It's neither better or worse than what Diggle is doing on the main Daredevil title, it's just great to see what the character can also be.

Sean Chen does a great job with the posing and showcases old Hornhead's flexibility and agility and makes Luke Cage come across as the powerhouse he is. Sandu Florea's inks are touch and go, but for the most part excels in making Chen look good with crisp clean lines. Matt Hollingsworth is on coloring duty and adds a playful tone to the book by using a brighter pallet in contrast to the main title. Even in the night scenes, nothing is overshadowed and feels like a breath of fresh air.

All in all, it's a it's a solid book, but nothing outrageous. It would be a good introductory book for a young reader to the characters since Daredevil is a bit heavy at times. Johnston shows us that a man without fear isn't exactly a man without some fun.

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Robert Jordan's The Wheel of Time #2
Written by Robert Jordan
Script by Chuck Dixon
Art by Chase Conely
Colors by Nicolas Chapuis
Letters by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

"A locked door. No one in the Two Rivers had ever locked their doors. There had been a need...until now at least." -- Rand al'Thor

Coming from a perspective as a "Wheel of Time" fan, I'm really liking the series so far, especially with Chuck Dixon gets to do his stuff and is just let loose. This issue sheds a bit more light on Rand al'Thor's and his father's, Tam, home life. In addition to things to come, such as the revelation of Tam's heron-marked blade and how he uses it so well against a talking Trolloc.

How this read in the book is again pretty close to what happens in this issue. Dixon might have added a bit of dialog here and there to expand the events, but nothing outrageous where fans will cry foul. I think Dixon improved a few things, especially when trying to paint a picture on Rand and Tam's relationship, as not just father and son, but how they have just each other. Especially when their house is destroyed by hellish beasts and monsters. Nothing says father and son bonding like endangerment.

I'm still not sold on the art. The page layout reminded me of somebody just dropping random photographs on the ground and just traced the design from there. It's a bit scattered. In addition to the fact that I feel that sometimes the facial expressions were a bit either over done and cartoonish, or just too flat and boring. In contrast, the backgrounds are great, and the coloring detail is the perfect partner for Conley's style. Also, as a fan, I have to praise Conely for nailing down the imagery I've had in my mind for the past sixteen years of my life.

I'm enjoying the book so far, and since it's just the beginning of the series it might seem slow, but it's about to get into some good stuff.

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The Unwritten #13 (Published by Vertigo; Review by Lan Pitts): What can one say that hasn't already been said about this series? Hell, what can I say that I haven't already said? In my opinion, page for page, it is the best series on the shelves these days, and after a year it still holds true. I've questioned Mike Carey's direction of the story from time to time since it seems to be going multiple places at once, but in fact he's just layering like a club sandwich. So, in this issue we have Tom, Liz, and Savoy hiding out at an apartment downtown so they can keep an eye out for Tom's father who may, or may not, appear at the debut of the new book...that he did not write. It's all a trap and Tom and Co. are none the wiser. New revelations are revealed, a cliffhanger ending, and a trap set in motion. Simply put, the story never stops until you put it down. Peter Gross is back on full art duties, colors aside of course. The layouts remain sharp and with a dialog-heavy book like this can be at times, Gross always makes sure the pages are still interesting and never boring. It's creative and inspiring without being avant garde. Chris Chuckry does a great job on colors, as usual, with his muted tone that adds a layer of realism to a fantasy story that makes it all that more intriguing and captivating. Everything is lining up for this book to be the stuff of legend and is already my "must-read" book.

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.

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.

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.

Post Game: Batman: The Brave and the Bold -- Inisde the Outsiders

Batman: The Brave and The Bold -- "Inside the Outsiders"



"Yeah! What are Batman's happiest thoughts??" -- Black Lightning

"Inside the Outsiders" opens up with Green Arrow and Batman tied up to be lowered into a pit of wild cats by Catwoman. Now, I have to admit, I love the old-school Catwoman purple dress get-up and was pleased as punch when the creators of the show went with this costume choice. She has robbed a museum, of course to steal some golden cat statue. There is some banter between Batman and Catwoman, though GA thinks Bats and Catwoman are flirting (they might as well be), but Batman was distracting her and he cuts his and Arrow's bonds. The writers really displayed their chemistry well here, invoking the relationship between Batman and Catwoman from the 1960s live-action show. Batman and Catwoman spar for a bit and eventually he manages to tie up Catwoman using her own whip. Catwoman escapes but leaves her number with Batman. Ahh, true love...

After the theme song, we see Batman running and dodging a gauntlet set up inside Psycho Pirate's lair where he has the Outsiders in captivity. Pirate has some sort of device that is feeding off of their emotions, and giving him strength. Cunning and disciplined as always, Batman uses this same device on himself to enter a sort of dreamworld to find the young team and rescue them. First up we see Katana's origin. As a young girl in her native Japan, she had revealed the whereabouts of a prized sword to her master's enemy and is ordered to hide while her master, Takahiro, deals with the foe. She witnesses her sensei's death at the hands of his attacker, and Batman is trying to snap her out of the dream and make her realize this was not her fault. She is seeking revenge in the dream and that is, of course, making Psycho Pirate stronger since her rage is so intense. Batman stops her from killing the foe and they begin fighting each other. It's a brief sparring between the two with Batman coming up on top, and Katana comes to her senses. With that, Batman and Katana are able to move on to the next Outsider in need, Black Lightning. Mindful of Lightning's rough background with an impoverished upbringing, Batman prepares young Katana for a potentially bleak dreamworld, only...

The two enter BL's mind and find that he is outraged by the most mundane everyday things. Sprinkles on coffee, white after Labor Day, dogs using fire hydrants to do their business (apparently that last trauma cost Lightning a choice pair of sneakers), anything earns his electric scorn. Batman tries to calm him down, but nothing is helping. He's even angered by Batman's cape. While saving a bystander, Katana runs into Pirate and lowers her weapon. To further enrage Lightning, Pirate brings to life an annoying TV kid's show character to life to attack the heroes, a sort of Barney the Dinosaur creation in the form of unicorn. Batman convinces his teenaged charge (no pun intended) to refocus his rage and he conforms to Batman's lesson on calmness. Batman and the Outsiders succeeding now two out of three, Metamorpho is next and he doesn't look happy.

The dreamworld city they enter is destroyed and Metamorpho, taking various elemental shapes is continuously wrecking havoc. He becomes Godzilla-sized and his teammates are trying to figure out why. Turns out Psycho Pirate is taunting him and spreading lies in his ears about how Black Lightning and Katana call him names. Is this elementary school?? They try to subdue him and reason with him, reminding him that he isn't an outcast. BL is the first to talk, but Pirate keeps at it and Metamorpho becomes even bigger and continues to attack his friends while Batman goes after Pirate. When Pirate thinks he can drain Batman, he punches him trying to take him down. Katana actually speaks up and she talks to Morpho about why they formed the Outsiders and that he is not alone. Finally convinced by his friends, Metamorpho eventually withdraws and they share a hug. Back at Psycho Pirate's laboratory, Batman escapes from his "dream pod." He sees Pirate doing the same and flips a switch that appears to have killed them. Turns out they weren't in the real lab at all! Pirate was in Batman's mind all along! In order to physically take down the Pirate once and for all, Batman uncharacteristically channels his outwardly happy thoughts, issuing a series of blows that eventually defeats him. Refreshed since they're now out of their respective dream states, Black Lightning and the rest are ready to go at Psycho Pirate some more. But seeing that Batman is ready to take the high road with their defeated foe, the Outsiders wisely relent and decide that it's best to let the police deal with him.

The Anchor #1 review

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

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

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

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

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

Post Game: Batman: The Brave and the Bold -- When OMAC Attacks

Batman: The Brave and The Bold

"When OMAC Attacks"

"Hit hard or not at all, I always say." -- OMAC

Finally. After waiting months for new episodes of "Batman: The Brave and The Bold", it's back on! Now the thing is, Season One isn't technically over yet. We still have three episodes left until Season Two officially starts. I'm ridiculously envious of our readers from the U.K. or Australia who have already seen these episodes for almost a month now. Oh, well! Patience is a virtue I suppose.

We start this episode with in outer space with Batman being accompanied by Hawk and Dove. There have been a few Hawk and Dove incarnations, but they kept to the original duo: Hank and Don Hall. Of course they are shown fighting and squabbling over how to handle the current situation, which happens to be Batman trying to bring peace between two alien nations. Batman assigns the brothers to take out the ground troops while he handles the remaining warships. So Hawk and Dove spring into action, all the while bickering back and forth, but I liked how they made Dove not so much of a pushover pacifist. Later, Batman uses some sort of nullifier beam and takes out the warships and overhears Hawk and Dove fighting and thinks to himself "Lucky for me, I was an only child." Back on the ground, Batman has a peace treaty written up and the two alien leaders sign up. Who knew that also with being the world's greatest detective, he also excels in the field of interplanetary diplomacy. So after the aliens sign the treaty, Hawk and Dove start fighting again and Batman escorts the aliens away to his ship so they can toast to peace while the brothers duke it out. I'm not sure why Batman would think that bringing those guys into this sort of thing would seem like a good idea (he actually thinks to himself again about how he should have brought the Green Lanterns instead), but the rest of the episode deals heavily with war and peace subtexts.

Back on Earth, Batman is confronted by the Global Peace Agency, or GPA and they are disappointed in the fact that he has not caught a Russian general by the name of Kafka, who they claim is to disrupt the balance of the world's power. Apparently he is developing some sort of transient organic metal. So that Batman is assured a victory, he will be assigned a partner. The GPA tells Batman that the bumbling Buddy Blank will be his partner, Batman is a bit quizzical about this notion until the GPA activates Buddy's Brother Eye. Suddenly, Buddy is molecularly rearranged to become OMAC (voiced by Jeff Bennett), the One-Man Army Corps. OMAC has no memory of becoming Buddy or vice versa, and the two are sent to Kafka's base where he is developing the metal. Of course while Batman tries to take the more stealthy approach, OMAC is having none of that and goes fists first (after a small upgrade from Brother Eye) into the fray.

Once inside, OMAC goes after Kafka but one of his beams is misdirected and Kafka's body gets flooded with that organic metal. Also, enter Equinox (voiced by Oded Fehr). Now, we've seen him before, but this episode hints at him being actually more powerful than originally hinted. Anyways, OMAC destroys the base and think that he's defeated Kafka, though that's not how things turn out. Kafka emerges from he wreckage as Shrapnel. Now, Shrapnel from the comics was simply deranged and mainly a Doom Patrol adversary, but this version is based off of the OMAC villain who was from the future, so it's still technically DC Universe canon. A skirmish breaks out, and OMAC's powers are disabled when the link to Brother Eye (the eye symbol on his chest) is punctured by a shard made by Shrapnel. Forced to retreat, the GPA is again angered at Batman, especially this time with their human weapon malfunctioning. In the infirmary, Batman tries to console Buddy who feels inadequate, but just then Shrapnel is seen advancing towards the city and of course, OMAC emerges again goes after Shrapnel. Equinox then appears to Batman again and continues with his talk of balance and it appears that he is behind the fight between OMAC and Shrapnel.

Meanwhile the fight between OMAC and Shrapnel gets more intense and explosive. Shrapnel explains that the GPA came to his village and destroyed it and he wants revenge. They continue the brawl into a nuclear power plant where some serious damage is done. A meltdown is now imminent though they still continue to fight. Batman tries to stop the meltdown, but guess who, Equinox with more talk of balance how Batman should appreciate that since he is equal parts dark and light.

OMAC has been trying his best to physically beat Shrapnel, but he's figured out that hitting him only makes him stronger. He tells Brother Eye to concentrate the rest of its power on shields and defense. Shrapnel's powers come from other people's energy and once OMAC essentially gives up, Shrapnel is powerless and easily taken down and wrapped up. Of course that has drained all of Brother Eye's power and OMAC transforms back to a very confused Buddy Blank who witnesses Batman take a beating or two by Equinox and decides to jump into action by tackling Equinox to the ground while Batman darts for the central control and tries to abort the meltdown. He succeeds, but barely. The radiation took its toll and he is weakened and dying. That is until Equinox shows up for the last time. Batman exclaims that he is in control of his own fate, but Equinox begs to differ. He heals Batman and even repairs his torn costume, but vanishes in a way that reminded me of Quantum Leap just as Buddy came in to help Batman out of the plant. Of course Buddy is ecstatic that he took on a supervillain, but Batman hints that we haven't seen the last of Equinox.

What did I think of this episode? Well, Jack Kirby and Steve Ditko creations in the same episode was all-out awesome. The action was fast-paced, but almost too prominent where it seemed like there was always fighting going on. I guess we have to wait to see what Equinox's game is. I like how they used Fehr's voice as he has voiced DC characters before (he was Dr. Fate on JLU). I waited so long for this show, and I'm glad it's back. I just wish Cartoon Network would plug this show now that it has returned. I didn't see hardly any promotional ads for its return or anything. That's kind of sad in my opinion.

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.

triple feature yet again! Moon Knight, Dr. Voodoo and Zenescope's Little Mermaid

In case you missed it...

The Little Mermaid Collection
Written by: Raven Gregory & Linda Ly
Pencils by: Claudio Sepulveda
Colors by: Nei Ruffino
Letters by: Alphabet Studios
Published by Zenescope Entertainment
Review by Lan Pitts

This ain't your baby sister's Little Mermaid. Not by a long shot.

In the spirit of Zenescope's style of reimagining fairy tales and such, comes The Little Mermaid. Now, this isn't the story you may know unless you're familiar with the Hans Christian Anderson version of the story. It starts out the way most remember it, a shipwreck with a prince going overboard and rescued by a mermaid princess. Ah, nautical love.

Well, I'm sure you know how the story goes from there: mermaid princess falls in love with prince, makes deal with Sea Witch, becomes mute, gets her heart broken, and...gets ripped in half by the Sea Witch and her remains eaten by sharks? Oh right, this is Zenescope. Meanwhile, there is another story that parallel's the Mermaid's tale going on featuring the same themes as love, lust, betrayal, and of course Grimm Fairy Tales' recurring antagonist, Belinda. Belinda approaches Lucy, a woman who lives with her young daughter Sara, who is trying to get out of her mother's white trash shadow. Both the mermaid and Sara take some ill advice and both pay the price in their own way.

Originally published as Grimm Fairy Tales #25 and 26, it is now collected into this 56-page issue. There is some really good stuff in here. Claudio Sepulveda draws some amazing landscapes and the opening sequence with the shipwreck is phenomenal. Of course, being aided by Nei Ruffino on colors doesn't hurt either. While Sepulveda does need to improve on his facial constructions, I wasn't turned off or taken out of the story. Speaking of the story, I feel it was too loose in some parts, mainly the motivation of Lucy to use Sara the way she did and why she was listening to Belinda of all people.

All in all, with this collection, you can really see that Zenescope is attempting to step up their game with fantastic visuals and layered stories worth reading.




Doctor Voodoo: Avenger of the Supernatural #1
Written by Rick Remender
Art by Jefte Palo
Colors by Jean-Francois Beaulieu
Letters by Dave Lanphear
Cover by Marko Djurdjevic
Published by Marvel Comics
Review by Lan Pitts

At first, when Brother Voodoo was announced as the new Sorcerer Supreme, I was taken aback a little. I was really pulling for Wiccan to assume the mantle, or hey, even Dr. Doom (just because he is Marvel's greatest super villain). Though, flipping through the pages at my local comic store, purchasing it and actually reading it when I got home...yeah, Marvel chose wisely. I wasn't too familiar with the character, so my impression was open-minded when it came to how Rick Remender worked the Jericho Drumm character and I have to say, he's a bona fide bad ass.

This issue picks up after Jericho Drumm's cameo in New Avengers #53 earlier this year, where the legendary Eye of Agamotto chose him for the role of new Sorcerer Supreme. I love how Remender got down to some serious supernatural business from the get-go with the Doc confining old school Dr. Strange arch-nemesis, Dormammu, and we can see the different types of magicks that Voodoo relies on in comparison to Strange's. It's truly eeriely colored and drawn. One can really sense the feel of the type of power he now possesses. Of course you have Strange in an Obi-Wan-like role, but you can almost hear the doubt in his voice over Agamotto's choosing. Strange understands though that the Eye chose Jericho for a reason and he has to live with that.

Of course, Strange isn't the only one questioning the Eye's choice in new Sorcerer Supreme. Enter: Dr. Doom. The two have a mystical throwdown of serious proportions with Doom dominating until the very end. When he thinks the Eye is now his for the taking, Doom gets a rude awakening by showing him something that makes him do a hasty retreat. I love Remender's vernacular for Voodoo and his use of Vadou terminology. It provides a sense of faithful representation of the character and his world.

Jefte Palo's art is something else, too. I love Dr. Voodoo's new costume and how he interrupts the outlandish scenarios and creatures. It is almost as if he was meant for a book like this. Doctor Voodoo works great as a premiere issue for various reasons, but there are plenty of unanswered questions and I'll be sure to be around to find out.





Vengeance of the Moon Knight #2
Written by Gregg Hurwitz
Art by Jerome Opena
Colors by Paul Mounts
Cover by Leinil Yu with Jason Keith
Letters by VC's Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"As Moon Knight, Spector prowls the night, meting out brutal justice to those who would prey on the innocent." Really? If that was the case, how come in the last issue, it was mainly in broad daylight and in this issue, again, it's mostly taken place during day time hours?

With that out of the way, I do want to express how much this series is off to a great start. Coming off the conclusion of the last issue, Sentry confronts Moon Knight and basically tells him can empathize what it is like to have inner demons and dealing with borderline insanity. The dialouge is well-paced and great introduction to the issue with Sentry flying all around, averting numerous disasters, all the while explaining to Moon Knight that if he goes back to his psychotic ways, he'll put him down.

Later, Norman Osborn is disappointed in the Hood and wants Moon Knight by any means. So, naturally, Hood brings in some additional help by means of the Profile. At first, I have to admit, the way the coloring works I thought it was the Purple Man. I always liked reading what the Profile was thinking, even if it was only for comedic value. Hiring the Profile, we also see that Osborn and the Hood will do whatever it takes to bring Moon Knight down, however, there is doubt they actually can. He's composed and seemingly at peace with the role of playing the hero again...though of course there's the end of the issue where, I'm pretty sure, the next issue will be insane and Spector's first real test on holding his madness at bay.

Hurwitz also does a fantastic job at reintroducing Moon Knight's supporting cast and does it in a way that makes you feel he's been doing it for ages, though for some of you new fans, it may seem a little confusing, but a quick browse through MK's history would remedy that. He handles Marlene, Frenchie, and Crawley with ease. Each of them have their own level of tension with Marc (or Jake) and it's wonderful character development to watch unfold. Hurwitz's script is paired well with Jerome Opena's art, that once again shines beautifully. This dynamite pair bring their own vision of action and character to the book and is easily one of the titles to watch out for. I know it may seem strange to some to say that with only two issues in, but rest assure, if you're not picking this up or having this in your pull box, you might want to rethink that.