Shinku #1

Shinku #1
Written by Ron Marz
Art by Lee Moder, Matthew Waite, and Michael Attyeh
Lettering by Troy Peteri
Published by Image Comics
Review by Lan Pitts

Vampires.

They've been a staple of folklore for centuries, and in pop culture for almost a hundred years. They've been perceived anywhere from noble monsters, to inhuman abominations, to even teen heartthrobs. Ron Marz, Lee Moder and company strive to bring vampires out of their sparkling image and back into the consensus that vampires are demonic creatures that will maim and kill you with Shinku.

The story follows young Davis Quinn as he wanders into the world of an ancient blood feud between the last of a Samurai clan, the titular Shinku, and the vampire warlord Asano. Shinku saved Davis' life when a local vamp takes a certain, shall we say, liking to Davis and took her head before she could get to third base. Davis is a witness to the existence of the vampires and the ongoing struggle Shinku's ancestors have had with them. His purpose is still unknown, but here's hoping he can survive because the glimpse we get of Lord Asano is disturbing enough.

Marz has been hyping this book for a while now. I have one of the ashcan sketchbooks when he was first promoting it, and that was at least a year ago. It is good to see this finally come into fruition. While Marz handles more mature themes in Witchblade, it's interesting to see him able to really cut loose and let the blood flow. He's also no stranger to the supernatural and Samurai stories, so this almost like a "duh" for him to write.

I haven't been too familiar with Lee Moder's work outside Wonder Woman and Dragon Prince (another creator-owned book which he teamed with Marz), but boy, this stuff is just excellent. The layouts are key here, as they feel natural and not cramped at all. Even when you have a lot thrown at you, it is still cohesive. Great use of colors here, too, by Michael Attyeh. His pallet meshes well with Moder's style, especially with Shinku's origin story. It just comes across very well put together.

If there was one complaint is I feel that Marz showed his hand too soon. I would have been more intrigued had I known less about Shinku, and more about Davis, besides him being a fish out of water guy in Japan looking to get laid. Marz can build a mystery, he's done it for decades, but I don't really feel anything for Davis, but I'm still interested in why he's so important to Shinku's quest, so Marz succeeded on that front.

Summer is here and with the big two flexing their event muscles, this was a nice break from that. I just wanted a bit more, so I'll be sticking around to see if I get my fill.

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.

Three times the interviews

I’m not sure if you’ve noticed but there’s this little event going over at Top Cow now called “Artifacts”. Ring any bells?

Sarcasm aside, one of the great selling points on Artifacts isn’t just the fantastic story (so far) that’s being architectured by Ron Marz, but he’s working on a rotating team of artists. Recently it was announced that Jeremy Haun (Detective Comics, Berserker) will join the rotation, picking up where Whilce Portacio leaves off.

Blog@ spoke briefly with Marz about the artists he’s been working with and the great chemistry between story and art, as well as working with Jeremy Haun.

Blog: Okay, so, first it was Michael Broussard, then Whilce Portacio, and now Jeremy Haun — who approached who about working on Artifacts? You or Jeremy?

RM: Top Cow publisher Filip Sablik was the matchmaker here. When he knew Jeremy was signing an exclusive with Top Cow, Filip called me up and asked what I thought of Jeremy taking the last on the third arc of Artifacts. Took me all of two seconds to say yes, as Jeremy is somebody I’ve been wanting to work with for a while. We actually talked about working together last year, but I don’t think either of us expected it to fall into place this quickly.

Blog@: Some say Whilce Portacio is doing some of his best work in a long time working on Artifacts, what is it about this story you think that elevates these artists to a whole other level?

RM: I certainly agree, I think this is some of Whilce’s strongest stuff ever, but I’m a bit biased obviously. Whoever I’m working with, whatever project I’m working on, a big part of my job is to play to the artists’ strengths and give them something they’re excited about drawing. Comics are a visual medium, so the scripts need to be as visual as possible. Otherwise, what’s the point? I also think you have to mention Joe Weems on inks and Sunny Gho on colors. They’re both bringing their best as well, so they make a great team with Whilce.

Blog@: Who’s on your shortlist of the artists you’d love to have on the final installment of Artifacts? Or do you already have somebody in mind?

RM: My shortlist has one name on it for who should draw issue #13, and that’s who’s drawing it.

Artifacts: Volume 1 is on sale now.

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It’s been a while since Ted Naifeh has dabbled in the world of his series Courtney Crumrin.

Over at Naifeh’s site, he presents a few preview pages for the upcoming for the upcoming Courtney Tales 2. Newsarama has got the exclusive interview with Naifeh, as well as the first look to the cover, as well as the official name: Courtney Crumrin Tales: The League of Ordinary Gentlemen.

Blog@: You’ve written another Aloysius story before, what made you want to write another about Courtney’s mysterious uncle?

Ted Naifeh: The first one was really part one of a two parter. I wanted to resolve that story, and this book does exactly that.

Blog@: Without giving too much away, where does this story take Aloysius?

Naifeh: The story explores the roots of my little magical world, where it came from, why it’s there, and what Aloysius’s role is in it. Aloysius is a pretty mysterious character in the main series, and I wanted to reveal some of his secrets. I’d like to think this story addresses why he’s such a lonely old man.

Blog@: Does this tie into any of Courtney’s adventures?

Naifeh: It will in the next Courtney adventure. I start digging more deeply into the back story of Courtney’s world, the community of witches and warlocks in the town of Hillsborough. Some of what comes up will have direct bearing on Courtney’s life.

Blog@: Who are some of the new characters we’ll get introduced in this tale? Any old favorites coming back this round?

Naifeh: One of the characters I had fun with in the last story was the pulp hero Goose Daniels. But since he was transformed into a goose at the end, I needed a replacement. So he has a confederate that comes looking for him, and ends up getting press-ganged by the Anti-Sorcery Society to take his place. Another character that shows up is Aloysius’s grandmother, who was briefly mentioned in Courtney vol 3 as the first witch in Hillsborough. It’s through her that some of the world’s back-story is revealed.

Blog@: Do you feel your style has evolved since last dabbling with Aloysius?

Naifeh: I tried to make it as similar as possible, but I’ve acquired new influences, and I can’t help it if they shine through a bit. It’s not a jarring difference, at least. Just a bit better.

Blog@: Tell us about some of those new influences.

Naifeh: In my promotional trips to Europe, I had had the honor of being exposed to some truly amazing artists. Sergio Toppi is a real artist’s artist. He’s been around forever, and you can see his influence on Bill Sienkiewicz as well as french artist Phillipe Druillet, who I used to adore back in the early Heavy Metal Magazine days. The new one is named Roger (which sounds much more romantic with a French accent), artist of Jazz Maynard (ditto). His lines are so incredible, so elastic yet under precise control.

Blog@: You took a break for a while doing Good Neighbors with Holly Black, how does it feel coming back to the world of Crumrin?

Naifeh: Like returning home, really. Courtney’s world is as comfortable to me as my own bedroom. I’m looking forward to adding some new flourishes. But I really had a ball working on Good Neighbors, trying out some Toppi-style line work (which was ill-advised, but I eventually got some really nice results out of it), and getting to do real fingers instead of Courtney’s spikes or Polly’s nubs.

Blog@: Do you foresee an end to Courtney and Alyosuis’ tales?

Naifeh: I foresee a stopping point. But that doesn’t mean I’m done with them forever. In this new volume, I added a single story element that completely changes their world, and that makes me want to explore the world a bit more. I have a definite conclusion for the Courtney Crumrin series, which is pretty final. But it’s not like Courtney’s going to die or anything. So we’ll see. As for Uncle Aloysius, this second volume concludes the Anti-Sorcerer Society storyline. I’d love to continue his adventures if I have time. But I want to explore new worlds as well. Princess Ugg is calling to me, demanding that her story be told. And there are others.

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Whoa.

Recently over at Jill Thompson’s twitter, the famed cartoonist and comic artist posted this painting of Wonder Woman that she had done. But what does it mean? Blog@ had the chance to speak with the acclaimed creator on her thoughts about the design and could this be the beginning of something?

What some people might not realize is that Thompson’s first gig into mainstream comics was actually on Wonder Woman in the early 90’s. “Well, getting to work on an iconic character right off the bat, with a comics legend like George Perez writing the story is a pretty great memory,” Thompson stated. “I remember tackling a page that had something like 19 panels on it. I doubt if I’d be able to do that now!”

I love Thompson put a little Greek homage into her design here. I think it’s a good balance of armor and a bit of the flair from the original design. “I think Wonder Woman is a strong, sexy warrior,” she said. “A hero. But also very regal. I was doing a character design to go along with a pitch I’ve had in for a OGN at DC for a while, so it’s not a redesign because I was trying to say something current costume – it was one of the ways I’d approach it in the story I want to tell.”

In addition to Thompson not deviating from the famous color scheme, she adds a bit of practicality to the costume. “If you’ve ever worn a bustier [author's note: I have not, but I can imagine what it is like] and moved your torso in it, you’re not going to be able to do much practical fighting if there aren’t any straps. I love to design clothing. I’d give her lots of variations on a theme. Nothing drastic, but focus on her as the costume and not just the costume as the costume.”

Another thing I really dig is how she incorporated a bit of might and magic into this design. She then states what and who Wonder Woman is to her. “I think she’s someone who is sure of herself. She’s a warrior who operates on her own set of rules. She’s been raised by warriors, and she’s royalty, so I think that gives her an air of superiority that maybe hasn’t been addressed. She’s commanding. I’d love to do that.” She continues with “I showed her having slain the creature because I love mythos, magic and adventure, and my story has a good deal of that in it.”

I can’t be the only one out there that thinks this would be a great idea. Jill Thompson is hardly a stranger to magic and myth. Add an Amazonian super heroine in the mix, and you’ve got gold. What do you think, readers?

The Devil and the Witch: Daredevil: Reborn #1 and Witchblade #141 two-for

Daredevil: Reborn #1 of 4
Written by Andy Diggle
Art by Davide Gianfelice and Matt Hollingsworth
Lettering by VC's Joe Caramagna
Cover by Jock
Published by Marvel Comics
Review by Lan Pitts


"Doesn't take a genius to figure this town has secrets, but it's not my problem. I can't help them. I can't help anybody." -- Matt Murdock


Matt Murdock is a man without a city. Possibly without a purpose, but trying to find one.


It's interesting to see Matt Murdock in a more "waffle house" sort of environment, and taken out of the urban jungle of Hell's Kitchen. It seems very en vogue to have super heroes on nomadic journeys of self-discovery, though, if anybody really needs a sabbatical, it's definitely Matt Murdock. The Shadowland event took its toll on Murdock's soul as he found himself fighting against other heroes and losing himself to the darkness that was the Hand. I guess after making myself the jerk of the year, I'd want to leave town as well. In the vein of the Incredible Hulk television series, we find Matt struggling with his past and figuring out the next move, like an author who just finished the last chapter of a long book, and has no clue what to write next.


Of course, even in a small backwards town, it doesn't take long for trouble to find Matt. After he takes a beating from a few white trash hoodlums, Matt figures something isn't right when even the police don't help him out and try to get him out of town. Being the detective that he is, Matt decides to investigates, and the shocking mystery about the town has just begun. When the police shrug off Murdock as not being a threat, they are in for quite the surprise.


Andy Diggle threw me for a loop in Shadowland, and in the worst way possible. I had enjoyed his run on the main Daredevil title, but for all the hype and my personal excitement invested, I was left, for a lack of a better word: bored. Boredom turned into complacency, and then borderline resentment. Daredevil: Reborn is another story. It's the Matt Murdock I enjoy reading. He's not Marvel's answer to Batman, he's not trying to be. He's not trying to be the hero he once was, but the man under the costume. Diggle provides the right words, and a great set up.


Now, I'm new to Davide Gianfelice's art, but I have to say, I am more than impressed. His line work lies somewhere between Cully Hamner and a hint of Scott Kolins and Chris Samnee. His figure construction is solid and use of facial expressions and body language complete the storytelling along with Diggle's dialog. Matt Hollingsworth rejoins the fray as colorist, and is in a class all by his own. The desert landscape seems barren and adds the depth of Murdock's solitude. Hollingsworth meshes with Gianfelice well as he doesn't step over his inks, and Gianfelice doesn't over ink the pages, giving Hollingsworth room to breathe.


We've seen "rebirths" before in comicdom. Some of them haven't been rebirths as much as they have been rehashing. Daredevil: Reborn (so far) seems like a restructuring of the character, and I'm not sure where this will lead. Black Panther may be the man without fear for the time being, but Matt Murdock will always be fearless.

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Witchblade #141
Written by Ron Marz and Saurav Mohapatra
Art by Stjepan Sejic
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

Some children just have to have a good spanking to keep them inline. The Nuemann children, Monica and Tripp, has Sara Pezzini after them, and that's more startling than anything my parents threatened.

Last issue we found out the two Nuemann younglings have the power to create whatever Trip would put on paper into the real world. Unfortunately, Trip's imagination mainly concentrated on demonic beasts that would dismember unlucky doormen. When Sara and Gleason approached the children, they wasted almost no time in trying to get rid of them by creating a small horde of monsters.

From the start of the issue, it's an almost non-stop massacre of Sara just laying waste to these oragami-gone-wrong creations. The chemistry between her and Gleason is still in top form, even in the heat of battle. When Gleason pulls out his pistol, Sara quips, "Really, Gleason? That's going to help?" "Can't hurt, right?" The two eventually split up, with Sara handling the creatures and Gleason out to stop the children from making the situation worse. The resolution came to bit of an interesting twist, and works in the situation. Though I wonder what Ron Marz's thing is with demonic children, as there is one haunting around in Magdalena.

As is the usual scenario, Marz, with assistance from Saurav Mohapatra, and Stjepan Sejic deliver a great read that doesn't contain too much backstory to get bogged down in. Sejic really does a wonder on a two page splash and panel construction splitting up the adventure with Sara and Gleason's own confrontations. Sara's armor looks great and the monsters are incredibly rendered and come out horrific. I mean that in the best possible way.

"Paper Monsters" developed into a pretty good read, that I'm sure almost anybody can get into.

Review Haul

The Darkness: Four Horsemen #2
Written by David Hine
Art by Jeff Wamester, Jason Martin, and Felix Serrano
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"I can feel it. The hunger, the rage, the burning fire of terminal disease running through my veins. The awful emptiness of death, opening a void in my soul...and the Darkness screams.

I guess I should make it clear that going into this, I was a bit weary. I am not David Hine's biggest fan. I found his recent arc on Detective Comics to be a bit stale. However, him taking Jackie Estacado's reins and running wild with them had me floored. Essentially, Jackie is up against the Biblical Four Horsemen of the Apocalypse, who are re-interpreted as Hell's Angels biker types. Jackie isn't sure at first if these guys are the real deal, but soon gets a taste of their medicine.

The Darkness that is one of those characters that few writers "get", in my opinion. Either he sounds like the Punisher on steroids, or Batman possessed by Satan. He is neither of those things. He is a hitman who is cursed by his birthright. Hine gives Jackie the proper voice here, with a sarcastic tone in his voice, but somebody who understands that he is the embodiment of shadow. He comes across as the anti-hero he is billed as and not some demonic jerk.

Hine's dialog for the Horsemen is just as sharp as Jackie's. They play games with hostages and curse people randomly. The idea behind Famine, or Ronnie as his name is here, is interesting. Usually Famine is envisioned as a frail individual, but here he's loud, boisterous and quite rotund. The thing about Famine here is not that you are starved to death, it's that he controls your hunger and you never stop eating and you eat yourself to death. The imagery alone was something I wasn't expecting.

Speaking of imagery, Jeff Wamester soars on art. He handles the Darkness armor with precision and doesn't over-render the look or ruin it. It comes across as slick, but still gives the impression it offers protection. The Horsemen's designs are superb and they come across as a valid threat. How Wamester shows each of the Horsemen using their abilities is horrific and doesn't come across as pointless. The violence displayed is their big "hello, world, we've arrived" message to the population.

Darkness: Four Horsemen is one of those books where anything can happen. The Top Cow universe has seen apocalyptic scenario after the other, but can Jackie fight off the heralds of the end of the world by himself? I'm not the world's biggest Darkness follower, but this series has me hooked.

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Okko: The Cycle of Air #3 (Published by Archaia; Review by Lan Pitts): I went into this book blindly, knowing little to nothing about the franchise. As a fan of Avatar: The Last Airbender, I knew I'd be drawn to something of this nature. Boy, was I right. While there's no way to tell what's been going on in previous installments and the book just sort of happens, but once it gets going, it gets going. Some parts of the dialog seem a bit forced and out of place. The villain of the story, the demon hunter Kubban Kiritsu, is the most fleshed-out by comparison. The art by Hub and Emmanual Michalak is absolutely gorgeous that flows wonderfully on the page. There's an intense battle scene that just moves as smooth as a Japanese ink brush and the colors are just dynamite. If you can find the other two previous installments, please do, because if you're anything like me who is enamored with oriental mysticism and Samurai history, you'll love this series.

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The Incredibles #14 (Published by BOOM! Studios; Review by Lan Pitts): If you aren't picking up this book for yourself, or for a young reader trying to get into comics, for SHAME! Landry Walker's snappy character work and dialog is pure aces. While there is typecast as a mere "kids" book, it packs a lot of punch. Ramanda Kamarga and Marcio Takara give us some amazing art, with a minimalist style that delivers time and time again. The visuals come across as crisp and clean as you can get and convey each of the characters' powers and abilities. A great book that is a mix of adventure, fun, and a hint of danger.

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The Green Hornet: The Golden Age Remastered #3 (Published by Dynamite Entertainment; Review by Lan Pitts): Color me enthusiastic on this novel idea. Take some old Green Hornet comics from the 40's, dust them off, re-master them and publish them for this and future generation to enjoy. The original art is intact, with the coloring spruced up. Four classic tales that anybody who is an old-school fan of the Green Hornet or somebody just getting into the character can easily enjoy. Any fan of old style pulp comics will surely get a kick out of this as well. The Fran Striker stories have never looked better.

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Vampirella #1 (Published by Dynamite; Review by Lan Pitts): Vampirella has one of those iconic comic book looks. Whether you know little or a lot about the character herself, her costume is easy recognizable. That being said, I guess Dynamite is in the business of pulling a Wondy and deviating from the popular bathing suit design to something a bit more contemporary, or as I like to say, TV-friendly. The thing about it though, is that the wardrobe change doesn't phase me in the slightest or hinder the story. Writer Eric Trautman (DC's Mighty Crusaders) gives Vampi here a Batman-like voice. Lots of inner dialog that moves the story along, while getting an idea of who this revamped (pun not intended) Vampirella is. The real star in this book is Wagner Reis. His panel layout reminded me of older Batman books and the George Perez era of DC. It's not crammed to the teeth with panels, and he keeps things interesting with great use of angles and such. I love the heavy inking in the book and the play with shadows. If you're looking for a flat-out origin story, don't look here. If you're looking for an entertaining read that's also pretty to look at, check out Vampirella #1.

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Magdalena #4 (Published by Top Cow; Review by Lan Pitts): It looks like Patience has gotten herself in one hell of a pickle yet again. While following the trail of the so-called Antichrist, Patience and Kristof are ambushed and tricked by demons, and the young Antichrist, Anton. Of course things get even worst for our heroine as her spear is taken from her. The cover for the next issue looks incredibly foreboding. It's no secret that Ron Marz wanted to get on this book the moment he got into Top Cow, and in his patience (pun intended) we are rewarded with one fine book. Nelson Blake II does an excellent job showing Magdalena's fighting skills while expressing her grace that I think a descendant of Christ would possess. Also, great detail on the architecture around Paris. Marz's style has always been show and not tell, there's not that much inner dialog as usual and you get a sense of realism with the characters with their vernacular. Top Cow just keeps churning out with these great titles and if you're checking them out, you are REALLY missing out.

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Witchblade #140
Written by Ron Marz and Saurav Mohapatra
Art by Stjepan Sejic
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"Come on, Gleason...like we didn't see this coming." -- Sara Pezzini, Witchblade

I'm sure it's been said that nothing is more powerful than an imagination of a child. Or something along those lines. However, it's hardly said that a child's imagination could form the horrors that Sara and Gleason end up facing in Witchblade #140. If you haven't been following the events of Artifacts, first of all, for shame, and second of all, no worries. This issue concentrates more on the standard operations of two of New York's finest solving unknown mysteries and dealing with strange occurrences. So you won't be left out of the dark when you pick this up.

The issue starts off pretty standard from what we've seen before: Sara and Gleason investigate a brutal crime scene of some nightmarish creature and nothing but question marks emerge. A night doorman was horribly slaughtered, which is found unusual since the part of town was quite lavish. Sara and Gleason have a viewing of the security camera footage and it's not pretty what they find. Eventually they take to door-to-door questioning and run into a pair of some very, very odd children. The children like to draw and Gleason finds a comparison of one of the children's pieces to the creature that slaughtered the doorman. Of course we find out the real origins of the creatures and the two detectives find themselves surrounded.

From beginning to end, it reads like a classic set up. I love the little winks and nudges to fans. The paper the doorman is reading has hints of Dragon Prince. Also, the children's art work were really done by children, including two of Marz's kids. Marz delivers more of the police side of Sara, and a bit of her humanity in a sincere moment in an elevator. While she admits it's not easy being her partner to Gleason, Marz shows that Sara needs him in her life. Stjepan Sejic conveys that emotion through his great use of facial expressions.

It is still a mystery to me on why Witchblade is not on everybody's pullbox. This is a good jumping point for new readers that have been curious about the buzz. It's engaging, accessable, and feeds that supernatural need that you might not be getting elsewhere.

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Starborn #1
Created by Stan Lee
Written by Chris Roberson
Art by Khary Randolph and Mitch Gerads
Lettering by Ed Dukeshire
Covers by Gene Ha, Humberto Ramos, Khary Randolph, and Paul Rivoche
Published by BOOM! Studios
Review by Lan Pitts


Imagine The Last Starfighter, meets the Never Ending Story, and you get Starborn.

Benjamin Warner appears to be your average wannabe hard sci-fi author that just can't seem to catch a break. His first book was rejected as it was too close to an existing author's work he was unaware of. I can't even tell you how many times that has happened to me. Yet, he continues to strive and write and do his best to get noticed in the world of literature. When he gets rejected again, that's when story starts really coming into motion. Benjamin comes face to face with one of his own creations at work and one of his childhood friends comes to his aid, for she is not what she appears as well.

Immediately, the striking style of Khary Randolph will hit you Not quite Humberto Ramos or Eric Canete, but his art represents the best of what I love about both of those artists. The way the characters move across the page from the simple motion of checking the mail, to dodging a would-be knock out punch, it just comes at you. And fast. The character design for the aliens and other out-worldy creations look stunning and unique. Adding the colors of Mitch Gerads to it and it's kicked up to another level. The look to creatures' skins or the wonders of the majesty of outer space look tremendous. Seriously, a great combination.

The script itself hearkens back to classic Stan Lee stories of the everyman thrown into a not-so-everyday situation. Chris Roberson excels here as I can empathize with the character and has set up an intriguing story, that I hope get its time to tell.

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Rainbow in the Dark #1 and 2 (Published by KaBlam!; Review by Lan Pitts) Talk about a do-it-yourself project. Written, art, and lettering by indie sensations Comfort Love and Adam Withers comes another one of their unique tales that is a mix of fantasty, with Bohemian philosophies with a drop of Rainbow Brite. Donna White is your average teen, who lives in a normal world of black and white, that's not bad, or really exciting. That changes on her way to school when colorful creatures break through into her world, as well as even a more colorful band of freedom fighters that take rescue Donna and take her back to their world, full of feelings and emotions she hasn't felt before. Or dangers she's ever faced. At first readthrough, it feels a lot like the Wizard of Oz meets the forementioned Rainbow Brite. The character designs resemble rock and roll and rave fashions, and one of the characters even reminds me of Andre 3000 from OutKast. The story is intriguing enough to where I felt hooked and fell into the second issue where the world and the "Gloom" is explained. The dialog is thought out and sincere and the art truly fits the story being told. You might have seen this couple at numerous conventions across the country, and Rainbow in the Dark can be available online at their site, with .99 per issue. So if you're looking for something really different, I can easily recommend this title.

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.

Angelus #5

Angelus #5
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview

"It was always going to end like this, wasn't it?" -- Dani Baptiste, the Angelus

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

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

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

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

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

Ani-Max One Shot

Ani-Max One-Shot
Created by Sharad Devajaran, Gotham Chopra and Jeevan Kang
Written by Ron Marz
Art by Jeevan Kang
Published by Dynamite Entertainment and Liquid Comics
Review by Lan Pitts
Click here for preview

"It was like this wave washed over me. I could sense every animal in the jungle. I had this connection to them, I was in tune with them. I understood every growl and chirp and grunt. I understood everything." -- Max Duncan

Imagine if you will, a hero that is Ben 10 meets DC's Vixen, and what you get is twelve year-old Max Duncan, aka Ani-Max. While on a vacation to the rainforest, Max becomes lost and is confronted by a panther who passes the mystical object known as the Animus Stone to Max. The panther transforms into an old man who informed Max of an impending danger and runs off. Max now possesses the ability to become part animal he touches, and his duty is to protect the Earth Spirits.

Marz hasn't touched anything all-ages since his Dragon Prince two years ago, and while the story may be as old as time (or at least as old as Dial H For Hero) it still has an underlining message of environmental consciousness. The message conveying is that the youth can be responsible for the planet they will inherit, so it's not exactly a Ben 10 rip-off story-wise. Max is someone who is willing to accept his responsibilities as the new guardian, in somewhat of a Harry Potter mentality. We don't know much about Max's main threat, the Locusts, as they were just mentioned by the former protector and hinted at the end of the issue.

Jeevan Kang's art is pretty standard for something like this. It's Sean Galloway mixed with Bruce Timm with a slice of Mike Kunkel for good measure. Layouts are simple and easy to understand. As this is a one-shot, I've heard that this is merely an introduction to the character in preparation for a venture into an animated project, which could easily work since the world is thinking more "green" these days. As a comic, it easily stands on it's own merits and I would recommend this to any Elementary School who are adding more and more comics to their library.

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.

First reviews of July. Mainly indie titles!

Velocity #1
Written by Ron Marz
Art by Kenneth Rocafort
Colors by Sunny Cho
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for the preview


"My name is Carin Taylor. Carin with a C instead of a K and an I instead of an E in case you were wondering. Or you can just call me Velocity. I run fast."

There are very few mainstream books out on the market that features a hero without a city to save, without a love interest, without a sidekick, without having to worry about a secret identity, without worrying about holding a job outside your superhero one...yeah, you get the picture. Yet here is Velocity in her own mini-series, and in this first issue at least, it truly is a solo book. It's her against the bad guys. No back up from Cyberforce (not to say they won't show up later in the series) and you really get the feeling it's her against all odds.

Right off the bat, you'll notice Kenneth Rocafort's stylish and kinetic style with a glorious spread at the beginning. that pretty much sets the bar for what you are to expect in this issue. It's fast, fun and exciting. Now, I have little to no knowledge of the character, I think I may have one or two Cyberforce comics somewhere, but writer Ron Marz excelled in giving me a good idea who Carin/Velocity is and her purpose, all the while setting up the frame of the five-issue mini-series. Essentially, take an episode of "24" and put it in the world of Top Cow superheroics, and there you have it.

Since Velocity isn't exactly a household name or even that well-known, Marz uses heavy inner monologue to get the character across. We get a sense of who she is and what she's about. Also, because of her lacking a supporting cast of any kind, all of our attention is on her and her thoughts. Of course with lots of inner monologue boxes on the page, you would think it would a distraction, but letterer Troy Peteri does an amazing job of making sure nothing gets lost or buried and goes with the flow of Rocafort's art. Sunny Cho's colors are striking but again, not distracting from what is going on in the story.

Simply put, pick this up. Top Cow has a slew of talent in their ranks and this book proves they can hang with the best of them.



Angelus #4 (Published by Top Cow; Review by Lan Pitts: Four issues in of a six-part series, Angelus #4 delivers so much and continues to build at the same time. There is romance, the continuing bloodfeud of light and shadow, betrayal, and an Artifact revealed. All the makings of a compelling story with characters I quickly have come to love in a span of over two years. Ron Marz as usual has an engaging story with depth, and gets the reader excited for Top Cow's upcoming "Artifacts" mega-event. There is some seriously good dialog going on that has weight and sets the tone of "Artifacts" and how it truly is going to be a war. Now Stjepan Sejic runs hot and cold to me. He's great when he's good, when he fumbles, it shows loud and clear. In this issue, you can really see his talent and imagination shine through. There's beauty in the environment and facial expressions come across clean and tight and convey genuine emotion. Especially with a touching scene with Finch and Dani. I recommend this comic for readers who are interested in some great fantasy and wonderful storytelling and any and all Top Cow fans.

Alice In Wonderland TPB (Published by BOOM! Studios; Review by Lan Pitts): This past Spring, Disney released a live-action "Alice In Wonderland" feature with Johnny Depp, Ann Hathaway, Helena Bonham Carter, and Mia Wasikowska as the titular Alice, but I hadn't realized that BOOM! put out a graphic novel adaptation to the movie. I have to say I enjoyed the book more than the movie. Nothing knocking Tim Burton or his crew, but Massimiliano Narciso's art is something between Ted Naifeh and Jill Thompson and is simply amazing. It has a sort of dreamscape feel to it (as it should) and I hope to see more works from him in the future. Allessandro Ferrari does a fine job adapting the movie, which I'm aware is it's own story (though I would recommend The Looking Glass Wars by Frank Bebbor if you enjoyed this version, if you haven't already found that series). It also includes a behind-the-scenes sort of sketchpages where you can see the art progress which I found fascinating because I'm always curious on an artist's thought process.


Jim Butcher's The Dresden Files: Storm Front Vol 2 #2
Written by Jim Butcher and Mark Powers
Art by Adrian Syaf and Brett Booth
Inks by Rick Ketcham
Colors by Mohan
Letters by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

"Useless. It had all be useless. I was going to die in the next two days." -- Harry Dresden

The problem with adapting material, especially one that has a cult following like The Dresden Files does, is that there is already an audience for you to either get praised by or to piss off. In the case of this book, I'm leaning more towards the latter. For those of you unfamiliar with Jim Butcher's book series of the same name, it centers around an adult wizard named Harry Dresden, who is used by the Chicago PD to deal with supernatural situations and beings such as, but not limited to, fairies, vampires, demons and devils. Simply put, very cool stuff. I recently got into the book series via a good word from a friend and was surprised myself when I had not gotten into them sooner once I dove in.

A recap page would have come in handy as well since we are about halfway done with the first novel at this point, so that would make it difficult for non-fans to enjoy something that they otherwise might have. So for those out there, Harry has taken a missing persons case with a client whose husband has been missing for three days, he was also dabbling in magic. On top of that, he is investigated a double murder with the victims whose hearts had been removed. Of course this opens the gates to Dresden and his magical world.

The main problem I have, isn't with the script or the adaptation, though Harry's inner monologues do become cumbersome and make the pages seem cluttered. Very cluttered. Mark Powers' script holds up to the book series and didn't deviate the plot from what I can recall. My main gripe, and it's one hell of a gripe, is the inconsistency of the art. Adrian Syaf, who can be seen working on Brightest Day comes off strong, yet his inks fall by the wayside. Ketcham takes a page out of what is essentially 90's Image style. Too much feathering and cross-hatching in some places that it became distracting. There are three different artists on this book, all with different styles, and it looks choppy. Also, the last pages of the book are strictly done by Brett Booth, who has is probably the most radical in style, but he's also the only one that added text to Harry's shirt that appears out of nowhere since it's not in any other part of the book. Oy.

Dresden File fans, we simply deserve better.

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.

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.

Iron Man: Noir #1 & Angelus #3

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

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

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

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

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

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


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

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

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

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

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

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

Top Cow talks about what lies ahead in 2010

At the beginning of this month, Ron Marz talked to Newsarama about the new mini-series coming out this week, Angelus, which showcases Dani Baptiste and the new direction her life is headed. However, Angelus is merely the start of a larger epic. Shipping in February, Broken Trinity: Pandora's Box tells the next chapter, centering around some familiar faces. Then comes the big event in April: Artifacts, which will take the Top Cow universe to a place it's never been before.


Newsarama talked to Top Cow scribe Ron Marz and publisher Filip Sablik to give us some insight on things to come with the upcoming events, starting with a quick sum up of Angelus:

"The story is definitely balanced between Dani's personal lilfe and her role as the Angelus. There's a lot going on in Dani's life during the series," said Marz. "She moves back to New Orleans, she has to sort out whether she's going to be in a relationship with another woman. And all of that is going on while she adjusts to her role as the Angelus, which includes a coup attempt by those who serve her, as well as a conflict with the Darkness, in the person of Jackie Estacado."

"One of the things Ron and I talked about when we were working on "War of the Witchblades" is that in a way, that story was the birth of a new hero in Dani becoming the Angelus," publisher Filip Salbik replied. "It was the origin story, if you will. In my mind, the Angelus limited series is Dani's 'Year One', the events that will define her as a hero and a character."

So, with that series in the works, Top Cow is about to unleash a new chapter in the "Broken Trinity" saga. Marz and Sablik explain it as something more than a standard Witchblade adventure.

"Broken Trinity: Pandora's Box is being written by Rob Levin and Bryan Edward Hill, who I like to think of as the "I Spy" team of the 21st century, except without the tennis pro cover," Marz joked. "It's very much set in the real world, like a globe-hopping big-budget action movie. It continues the stories of Finn and Glori, the characters we introduced in the "Broken Trinity" event I wrote last year. So Finn, who can become a frost giant, and Glori, who can transform into a dragon, are the fantasy elements, but they're placed in the real world. I think that's a really intriguing contrast."

Sablik went on to saying, "Yeah, I would describe Broken Trinity: Pandora's Box as more of a globe-hopping big-budget action movie. In tone and spirit, it takes inspiration from things like "Alias", "Indiana Jones", "James Bond", and "Tomb Raider". There are certainly supernatural, mystical elements to the series but it fills a very different space than Witchblade and The Darkness.


Marz explains that Artifacts was first talked about two years ago, and has been on the horizon for a while, but they're getting down to the nitty-gritty. "Issue #1 will be out in July, which sounds like it's far away, but it's really right around the corner in terms of publishing."

One of the big questions was about readers being able to understand the full story of Artifacts if they decide not to read Angelus or Pandora's Box. Marz has stated that Artifacts won't be like most crossovers where there are 3 dozen threads or anything like that, so Artifacts will be self-contained.

"Yeah, Artifacts will be a ground-floor read. Noobs will get everything they need to know within the story. So if someone is not reading Angelus or Broken Trinity, or heaven forbid even Witchblade and The Darkness, the story in Artifacts will still be completely accessible," said Marz. "The story is going to very literally redefine the Top Cow Universe, so part of my job early on is to establish who's who and what's what in the Top Cow Universe. You have to show the readers what's at stake in order for them to care."

"That's definitely one of the key things Ron and I talked about very early on when we began discussing the structure of Artifacts. We really want to make this the kind of event that if you've never read a Top Cow title, but you've been curious, you can walk into our biggest storyline to date and immediately be immersed," Sablik added. "It will hopefully make you want to go back and read the issues of Witchblade or The Darkness or other series that led into it, but it won't be necessary to understand what's going on in the series. My favorite part of the story Ron has come up with is that it has a very human element at its core. Even if you care nothing about the large Universe ramifications with the Artifacts, I think you'll be able to enjoy the journey the main characters go on."

Now, Top Cow has been around for a while now, but never has done this sort of "ultimate crossover event" and marketing this event is no easy task. "I've been amassing blackmail photos of all of the top one thousand direct market retailers for the last 3 years and it's finally time to make use of them. I'm kidding, of course," Sablik jokes. "We are going to be putting the full weight of our marketing behind this event series. You can actually already see teaser ads our monthly comics in the last month or two. The main thing will be building the excitement over the course of the next six months, releasing little bits of information a little bit at a time without spoiling the story. One of the other things we'll be doing is building towards the series in titles like Witchblade and The Darkness as well as limited series like Angelus and Broken Trinity: Pandora's Box. All of this hopefully will crescendo into a fever pitch around Comic-Con next year.


He goes on to say, "It is the must read title for 2010 in Top Cow. And I think I can say it's a must read for us because we've never done something like this before. And of course, there are difficulties in trying to pull something like this off."

Though, Sablik is confident in his team. "Fortunately, we have Ron Marz at the helm. Not only does he have experience in world building and writing sweeping epics like this, but he's also been the driving writing force in the Top Cow Universe for the last five years or so. We have other writers like Phil Hester, Rob Levin, and Bryan Edward Hill essentially acting as support for Ron and these are guys that Ron knows and already has relationships with. Marc Silvestri is providing his insight as well and adding to the big ideas at play here."

Sablik feels comfortable moving foward with this project for numerous reasons, but one stands out, "This isn't something we're doing because we need to fix continuity problems or capitalize on a trend. This story is a natural outgrowth of where the story of the Top Cow Universe has been going. It has evolved from the stories that Ron and Phil and others have been telling."

Ron Marz on GL

I have no idea how I missed this interview. D'oh!

Witchblade #127 review

Witchblade #127
Written by Ron Marz
Art by Stjepan Sejic
Letters by Troy Peteri
Published by Top Cow

Conflict is inevitable. Here we have a continuing installment of the ongoing saga "War of the Witchblades." Last we learned, aspiring dancer Dani Baptiste (daughter of Sara's police captain) has the light half, while Sara Pezzini wields the dark half, possessed by an entity known as Tau'ma (pronounced TOWW-MA). The issue opens up with a man praying to God for help, however Sabine (one of the Angelus) shows up and toys with the man's faith, for mere amusement no less. She is quickly informed that Sara is alone and without the "aid" of Tau'ma. So Sabine and her cronies fly out looking for Sara.

Meanwhile, back at Sara's apartment, Dani uses her key to get in and finds Sara's boyfriend/partner Patrick Gleason waking up on a recliner. After a quick "hi/how are ya," they discuss Sara and how she's changed and how they're both worried. Dani tells Patrick that the Curator told her that she has to take the Witchblade from Sara. That's pretty direct coming from a guy who speaks in riddles. Just as Dani goes to check up on Hope, Sara walks in.

*cue dramatic music*

Right off the bat, there's something. . . off about Sara. She's short with Patrick, she can't remember where she was last night, she's even ruder to Dani. Hell, even her baby daughter knows something is wrong as she wails when Sara snatches her from Dani. Then, Dani tries to talk to Sara and explain that there is definitely something wrong and the only way to fix it is for Sara to give her the rest of the Witchblade. Needless to say, Sara isn't having any of that. She lunges at Dani out the window and the two bearers have a brief skirmish. Sara, goes on rants of hate and violence, while Dani is trying to calm Sara down and assure her that something is terribly wrong. It ends on a pretty good cliffhanger, but I won't give away the details.

Ron Marz continues to hammer out solid story with great pacing and flow. Stjepan Sejic's art has grown on me since I was first introduced to it. The detail from the Angelus' armor to Sara and Dani's Face/Off pose, it's all pretty immaculate. I was really impressed with the fast pace of the fight scene at the end. There is one minor hiccup with the paneling structure, but nothing to take you out of the story, it just may have you scratching your head. This issue is nearly flawless and gets the ball seriously rolling with this arc.