Catching Up Big Time. Batman, Saga, etc...

Saga #7 
Written by Brian K. Vaughan 
Art by Fiona Staples 
Lettering by Fonografiks 
Published by Image Comics 
Review by Lan Pitts 
'Rama Rating: 10 out of 10

After a month-and-a-half break, the creative duo of Saga brings it back and not a moment too soon as I was suffering from heavy withdrawals. If you've been missing out, there's no worry as you're brought up to speed in the first couple of pages with the backstory of the war between Alana and Marko's races.

When we left off, we had just been introduced to Marko's parents and needless to say the union between the main characters is more than frowned upon. Despite the alien worlds, the relationships and correlation among the characters is incredibly human. It's only seven issues into the series, and if feels as if I've known these people for years. That is Vaughan's magic at work. Though this issue concentrates on establishing Marko's parents' relationship (if you can call it that) with Alana, it also touches on the subplots of The Will in mourning from The Stalk's death and Prince Robot still trying to capture our heroes. It also adds dramatic tension to the story with Marko's father, Barr, who has a secret revealed at the end of the issue, making if very difficult to have to wait until next month.

While the pissed-off mother-in-law is a slight trope, Klara definitely has her reasons to be angry at her son for marrying someone who is involved with a bloodfeud with her race. Barr comes across as more level-headed, but with his secret revealed to Alana, it's understandable why he would want to make peace. Once again, Fiona Staples delivers compelling art that could tell the story all by itself. Staples puts emotion into her art and that's obvious here.

The use of facial expressions are spot-on and riveting. How she captures all the emotions of the initial encounter between Alana, Barr, and Klara should be commended. She breathes life into these otherwise 2-dimensional characters, and makes them seem so animated and real. Her flair for alien design is in full front and it's plain out ballsy at one point.

Saga is a rare kind of book these days with rich, imaginative worlds and solid character development. The pacing hasn't let up and yet there is still so much left to explore in this universe. Here's hoping there isn't another delay in the near future. My sanity almost depends on it.

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Batman #14 
Written by Scott Snyder and James Tynion IV 
Art by Greg Capullo, Jonathan Glapion, Jock, Dave Baron, and FCO Plascencia 
Lettering by Richard Starkings, Jimmy Betancourt, and Sal Cipriano 
Published by DC Comics 
Review by Lan Pitts 
'Rama Rating: 9 out of 10

This issue is heavy, and primarily shows two things: Scott Snyder's Joker is a force of chaos (if you didn't know already), and things are about to get so much worse. This issue basically acts as a set up for things to come, but we see more of the famed Batman and Joker dynamic, as well as a hint of Joker's plans in action with the back up by Snyder and James Tynion IV.

Snyder has been building up to this moment for the great Joker story of his career, and if this issue is any indication of what is to come, it could be his opus. The issue is non-stop chaos with the Joker having laid out his dominoes and now watching each one fall and crash into another setting up a chain of events that really tries Bruce as a person and hero. We find out Alfred's fate and it's not pretty. Bruce almost goes into shutting down so he can operate solely as Batman to get the job done and his father figure back from the clutches of his arch-nemesis. Joker is the boogeyman of the DC universe and in the hands of Snyder, he's molded into a walking nightmare.

The banter between Joker and Batman is something to behold and Joker seems to be the one that actually "gets" their relationship. There's a nice nod to Dark Knight Returns with Joker greeting Batman as "darling", but it also evokes Joker's Peter Pan analogue from the previous issue. The events of the issue make this a real page-turner and the pacing works great, even if a little verbose at times. The lettering on Joker is great, too, giving him a sort of cackle even when he talks normally.

What can be said about Greg Capullo, Jonathan Glapion, and FCO that hasn't already been said? Here they're just as dynamite and visceral as ever, with great detail going into every panel. Near the end, things get a little too cluttered with Batman and Joker's face off, but nothing that warrants more than a half shrug and you move on to the next page. The close ups of Joker are disturbing as ever. You can see the madness in the eyes and his body language. How Capullo uses Joker's posturing tells the whole story in a few panels: he is a sick, sick puppy. Even if you're a rare example of nerdom and have no previous experience with the Joker and his madness, you get the idea loud and clear.

Team Batman is setting up a DC event here and the first steps always hit the hardest. With Batman #14 there's a sure sign that what lies ahead might be Bruce's hardest and most dangerous fight since he donned the cowl. Joker has never been this complicated, and possibly psychotic. Snyder definitely has something to prove with handling the first Joker story of the new DCU, but if this is where things start, this'll join the ranks of some of the great Bat stories ever written.

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Shadowman #1 (Published by Valiant Comics; Review by Lan Pitts; 'Rama Rating: 5 out of 10): Shadowman was one of the old Valiant's top tier books and has an acclaimed team behind the title, yet it balances a fine line between great visuals and cliched moments that we've seen a dozen times elsewhere. The continuation of Jack Boniface being a legacy character is a nice touch; he's younger, not a jazz musician, but still a bright (no pun intended) young man trying to find himself. Justin Jordan handles the mythos of the character well enough, but it's weighed down by a lot of exposition and a choppy ending. Patrick Zircher and Brian Reber elevate the dialogue with some heavy gore and a great battle scene; definitely the stars of the show. There's enough here for me to take a second look, but it really has to start picking up from here.

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My Little Pony: Friendship Is Magic #1 
Written by Katie Cook Art by Andy Price and Heather Breckel 
Lettering by Robbie Robbins
Published by IDW 
Review by Lan Pitts 
'Rama Rating: 9 out of 10

Strange things are ahoof in Ponyville, and your favorite characters from the Hub's My Little Pony: Friendship Is Magic are on the case. The creative team of Katie Cook and Andy Price mesh together perfectly, and the comic adaptation captures all the wonder and fun of the series that doesn't stray too far.

Creator Katie Cook has captured fans' attentions with her webcomic Gronk, as well her famed "mini-paintings" and her unique, cartoonish style. Here though, she takes up the writer's reins for the most part (she does have her own short story at the end of the issue) and nails the world of Esquestria with a fine hammer. Her sense of humor plays well into this world. Not really having any laughing out loud moments, but did make me smile. Each pony has their distinctive voice, and Cook is pitch perfect with each one. The story itself plays like an Invasion of the Body Snatchers homage, and even takes a little continuity from the show (they mention the royal wedding of Shining Armor and Princess Cadance) as an old enemy reemerges.

It's difficult not to hear the ponies' voices from the show as you dive in reading. Cook certainly has a handle of each one's characteristics and nothing sounds off or different from what you'd expect. Near the end, it begins to get a little too wordy and artist Andy Price's pages seem to get cluttered with word balloons. Nothing too horrible, but definitely something to take down a notch further down the road. Speaking of Price, he excels here and compliments Cook's words magnificently.

For what is deemed a comic just for kids, there is a lot of detail into every page. Even the backgrounds look very well put together and if you look carefully, you can see Price and his wife, along with Cook in the midst of Ponyville Square. You have to appreciate the expressions going on here; a true sign of a highly skilled cartoonist. Heather Breckel's colors are impressive to say the least. Each page is just bright and makes the book all that much enjoyable. Price and Breckel's styles work together well here and neither overshadows the other.

The biggest fear adult fans are probably having is whether or not they'll "get" it. Is this geared towards them or the younger audiences? Simply put: both. Much like the nature of the show, it has comic sensibilities for the young and young at heart. Yes, there are mentions to other pop culture staples in here, but doesn't go overboard with them. Cook has made this first issue accessible to all sorts of readers. It's fun, magical, and captures your imagination. While I do think non-fans of the series would be a tad confused on who's who, fans of the show will love this to pieces, and with good reason.

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Courtney Crumrin #7 (Published by Oni Press; Review by Lan Pitts; 'Rama Rating: 8 out of 10): With Courtney and Calperina on the run from the Coven, things are looking pretty dim for them, especially having Courtney's uncle Aloysius' true colors apparently revealed. The tension is definitely building for a head-on collision at some point, but things take an interesting turn here. Ted Naifeh has always had a good eye for design for his creatures, and this issue is a primary example of the things rattling in his brain. Where colorist Warren Wucinich usually brought color and brightness to this series thus far, here, there's nothing really go on. The issue takes place at night and it's understandable to use darker colors, but it just feels overdone here and some character details are lost.

Saga #5 and Batman #12

Saga #5
Written by Brian K. Vaughan
Art by Fiona Staples
Lettering by Fonografiks
Published by Image Comics
Review by Lan Pitts
'Rama Rating: 9 out of 10

With the opening page of a royal robot on the toilet, it's going to hit you that this is something out of the ordinary. Yet, if you're five issues into Saga and you haven't figured out that out, you might want to check up on your observation skills. Saga continues to push the boundaries on story developments and this issue gets downright gruesome.

If there's one thing Brian K. Vaughan knows how to do, it's engaging the reader into wanting to come back for more. At the end of the last issue, it looked like Marko, Alana, and little Hazel were about to be in for a fight. That fight turns into a slaughter. You want to root for Marko defending his family, and it's rough to see him like this, especially when he's taken a vow of peace. Another cool concept is Vaughan still fleshing out the notorious freelance assassin The Will. Having to escape with a child sex slave he freed was more problematic than he had thought. Of course, in addition to that subplot, his counterpart The Stalk — who also has one of the most badass designs in a comic I've seen in a while — ends up in her own sticky situation, with the last splash page leaving her fate uncertain. It looks like this might be it, but with this book you never can be assured of anything.

Now on to Fiona Staples laying out some serious stuff. The rage of Marko is shown violently, but paced in a way that gives it just enough time to show what he's capable of without slowing down the overall issue. She is terrific at displaying emotion through body language, and that has to come in handy when you're working with a character whose head looks like a TV monitor. She even gives Hazel the perfect baby smile and Lying Cat some of the best expressions you'll find on non-humanoids. She's stuck to a really solid color palette that gives the right amount of detail and just goes crazy with it. The backgrounds are kept to a minimum, unlike last issue, but are still nothing sneeze at.

I am not sure how many times I can express how good Saga is without overly gushing about it. It's completely enchanted me and to wait for the next installments are always a chore, but it's one of the best books on the market and one of the most original I've read in a long, long time. Saga sports some solid storytelling, great characters and visuals that stay with you.

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Batman #12
Written by Scott Snyder and James Tynion IV
Art by Becky Cloonan, Andy Clarke, Sandu Florea, and FCO Plascencia
Lettering by Richard Starkings and Jimmy Betancourt
Published by DC
Review by Lan Pitts
'Rama Rating: 8 out of 10

Talk about a palate cleanser.

No Court. No owls. Hardly any Batman, much less Bruce Wayne. No,Batman #12 is something quite different from the year-long struggle Batman has had with the Court of Owls. Back in issue #7, Harper Row was shown briefly helping Batman the best she could, and there was a hint of history between the two. Now, we see what started it all and how Harper tried helping Batman the first time around.

The main thing going into this issue was the knowledge that Harper would be the central viewpoint. It would be about her world and how she came about assisting Batman. Life hasn't been the best for Harper and her brother, Cullen, but they make the best of things out of what they have.

It's always interesting to see how Batman is seen through different Gothamites and after he saves Harper and Cullen from a group of thugs, she wants to find out more. Harper's Bat-obsession is what you might expect out of somebody that has seen this urban legend of Gotham up close and personal. Neither Scott Snyder nor James Tynion IV dumb Harper or Cullen down while making sure they aren't too juvenile.

However, you can definitely see a difference between the two writers on how they approach the character. It's odd to see Snyder not writing a majority of Batman here as Tynion handles the confrontation at the end between Harper and Bats. Tynion doesn't use Snyder's approach of heavy narration, and is more of a "show, don't tell" kind of writer. He lets Andy Clarke do a lot of the visual storytelling and does a decent enough job presenting the end of the story, even if they only have seven pages to deal with.

Speaking of, that's one thing I found difficult to get past. The book has been hyped as Becky Cloonan's debut in the bat-verse, but she only has art duties on a little over half the issue. Then Andy Clarke comes in and finishes it off. The two styles definitely clash and it's almost disjointing. It's like taking a bite out of an apple and it end up tasting like a taco.

That said, neither artists are off their game by any means. I'd love to see either take on a full issue of work in this universe, but the two together just doesn't mesh well. Cloonan has smoother lines, which certainly adds to Harper's femininity, while Clarke's rendering and crosshatching layers on a more serious tone. With Clarke's work reminding of a mix of Brian Bolland and Joe Kubert, it works out where the two teams are almost the opposite of one another. To be honest, it really threw me off.

Issues like this are important in long runs like Snyder's and the rest of Team Batman. It gives a nice moment to get some air and enjoy a change of pace. Snyder has assured we'll see more of Harper, and hopefully that will happen soon. She's a great character to have around and was fun to read. I just can't wrap my head around the conflicting art contributions.

Batman #11: Court of the Owls finale.

Batman #11
Written by Scott Snyder and James Tynion IV
Art by Greg Capullo, Jonathan Glapion, Rafael Albuquerque, Dave McCaig and FCO Plascencia
Lettering by Richard Starkings, Jimmy Betancourt, and Dezi Sienty
Published by DC Comics
Review by Lan Pitts
'Rama Rating: 9 out of 10

This is it. This is Rocky and Ivan Drago. He-Man and Skeletor. Cain and Abel. Batman #11 gives us the showdown that has been escalating for some time now. Does Batman prevail? Will Lincoln March live on to fight another day to haunt Bruce? Scott Snyder and the rest of Team Batman give us quite the battle, but nothing is ever black and white in Gotham City.

Jumping in right immediately from the last panel of the previous issue, Batman and his so-called brother duke it out all across Gotham with Lincoln getting the upper hand for the majority of the fight. When Bruce finally gets some hits in, he makes sure they count and the two cause some serious collateral damage to the city.

I think given the ending that Snyder has presented is the best route to have gone. Nothing is definite and gives Bruce a mystery he can't solve. The fact that Snyder also makes clear is how nobody owns Gotham is a poignant lesson. Lincoln has some great dialogue here as he's the main voice of the issue. His taunts to Bruce really show his mental instability and given time, will be a fine addition to the already legendary Batman rogues gallery. I do think that Bruce's ending monologue is a tad cliche at the end, and could have been punched up a bit. However, it is definitely an exclamation point for the end of this arc.

The back-up feature continuing Jarvis Pennyworth's story has more emotional weight, especially with Alfred and Bruce at the end. Alfred is more than the butler, or the confidant; he's the voice of reason. Both Bruce and Alfred lost somebody dear to them because of the Court, but where Bruce is determined to want to solve the mystery of Lincoln's heritage and put an end to the ambiguity, Alfred insists that they leave things at rest. This makes sense, and it adds to the whole overall lesson that Gotham is not just a city, but a force of its own.

You have great art teams on this. What can be said about Greg Capullo, Jonathan Glapion, and FCO that hasn't been said over and over. They are just dynamite, and Capullo really has established himself as one of DC's top artists and shown a whole new generation why he's a superstar. He's definitely won me over and I'll be on the lookout for whatever he puts out in the future. The best thing about this art team, that even with the more weaker dialogue, the scenes are still elevated to greater levels because the visuals are just that strong.

Over at the back-up, the mainstay art team of Albuquerque and McCaig literally burn the roof off the place and handle both the intense moments and more subtle ones with ease and panache, you'd easily would want a Bat-book with just them.

Batman #11 gives its readers the finale to something nobody was really expecting: a year long arc that establishes not only a new villain, but a new premise about Gotham City. Bruce has been pushed to the edge and he still fights another day. It's a strong book and one certainly labeled a can't miss one to read. This might be the finale to "The Court of Owls," but it's not an end. Kudos, Team Batman. Kudos.

Blast from the kind of Past: Saga #2 and 3 and Batman #10

 Saga #2
Written by Brian K. Vaughan
Art by Fiona Staples
Lettering by Fonografiks
Published by Image
Review by Lan Pitts
'Rama Rating: 9 out of 10

Last issue, Brian K. Vaughan established a universe that we see rarely in comics these days, rich in culture and political warfare, and filled with characters we instantly grew to love and root for. Here, we have our heroes and their newborn still on the run, and get a bigger scope on this universe as a whole. There's bounty hunters, magic and teenage woodland ghosts that I'm still not exactly quite sure what to think of. Vaughan's ability to seamlessly weave multiple characters into a single cohesive plot is quite the feat. Especially when you consider that these characters are literally worlds apart. I'll hand it to him with some of the dialogue here. We know that Marko and Alana are a couple, but here we seen their interactions and can actually believe it. The secret that Alana tells Marko that aids a spell is priceless, and Marko's devotion to his wife and daughter is obvious and clear.

In just two issues, Vaughan has told a love story, a war story, and a story about survival in a strange world that a lot of writers on the scene today would drag out. Here, nothing is wasted — every bit of dialogue counts for something and adds to the story instead of boggling it down. Again, Fiona Staples shines and brings her art to a whole other stratosphere.

Her talent to just give life to the inhabitants of these worlds is astounding. The design alone for the bounty hunter known as The Stalk is something to behold. The imagery close to the end balances contemporary horror with slices of sci-fi for good measure. While the layouts were still impressive, there were some pages that I thought could have been opened up a bit more, but nothing came across as boring or mundane. Her great use of facial expressions is top-notch and really sell the emotions of the characters involved. The muted palette is perfect for her style. It's laid-back, and makes her linework stand out all that much more. Saga continues to weave it's magic on me and captivate me with far-out world, and monstrous creations.

Honestly, if you haven't picked this up by now, you're more than just missing out—you're denying yourself a book that demonstrates the beauty of what the comic book medium can present to its audience.
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 Saga #3
Written by Brian K. Vaughan
Art by Fiona Staples
Lettering by Fonografiks
Published by Image Comics
Review by Lan Pitts
'Rama Rating: 10 out of 10

Three issues in, and Saga continues its trend of being a perfect blend of sci-fi, fantasy, and horror. It has maintained the quality of the last two issues with Brian K. Vaughan spearheading even more world-building and monster-making. With Marko injured, Alan makes a deal with one of the ghosts of the planet and learns something quite interesting about Marko that makes me still love the idea that anything can truly happen here. Vaughan has some of the best dialog so far in this issue.

Since the story still spans other worlds, the interactions between the more minor players builds, and we get an idea on how vast the story truly goes. Prince Robot IV is becoming one of my favorite villains here. Not just because he's just unique-looking by comparison to most comic book villains, but his demeanor is just a combination of menacing and wacky. Also the premise of how some planets' evolutionary process of some species is just so imaginative, you can't help but silently applaud.

The introduction to Izabel, the girl ghost, is a nice touch. Adding a bit of whimsy, and fun to an otherwise serious tone. The threesome of Alana, Marko, and baby Hazel become a foursome as they try to get ingredients to heal Marko. It's during this that a possible revelation about Marko is uncovered and leaves with you an "oh, crap" moment. Fiona Staples' art is a bit quieter here, but the panels still have a solid flow to them. The way she handles simple interactions like Alana and Izabel talking about kids, to the more complex, like Robot beating the holy hell out of a prisoner. It's all done with a certain level of gravitas so you can't keep your eyes off the page.

The more I think about it, the more I applaud her choice in the pallet used here. It's muted at times, but really complements the book as a whole. You still get the richness of the world around the characters, but it's not too distracting and overpowering. Her grasp on facial expressions is top notch which gives these characters actual, you know, character. Perfect example of this is how Izabel is handled.

Saga is one of the books that has supercharged the comic market. In so little time, it's become one of my favorite books of the year, and the only limit is Vaughan's creativity. By the rare chance you aren't reading this, you are missing out on what is simply a must-read.
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Batman #10
Written by Scott Snyder
Art by Greg Capullo, Jonathan Glapion and FCO Plascencia
Lettering by Richard Starkings and Jimmy B
Published by DC Comics
Review by Lan Pitts
'Rama Rating: 9 out of 10
There has been a large amount of speculation leading up to this issue on who is behind the Court of Owls and who will face Batman in one final showdown. The curveball thrown here is a big-time swerve as Scott Snyder pulls the rug out of all of us and catches us off-guard. What he's also done is create a great antithesis for Bruce Wayne and Batman as well that leaves you in anticipation for their last battle.

 Yes, we still have one more issue until this new villain and Batman slug it out, so here we have the revelation and Snyder playing up Bats' detective skills. He's really laid the groundwork since Day One on how this will play out, and looking back it's all there. It's not obvious at first, but once it hits you, it'll make sense. Though, the big reveal isn't what's really going on. Between the back-up feature with the Jarvis Pennyworth backstory, and this issue, it all comes together in one nice puzzle.

I think Bruce's monologues are the strongest here because he does taste a bit of defeat in the middle of the issue. It's interesting to see Batman really struggle here trying to get to the bottom of things, and keep coming up short. As I mentioned, Bruce's detective skills are keen enough to where he does figure it out, and we're back to the villain and Batman spelling it out for us. I think the dialogue gets in the way of the action in this last scene, and we're left shaking our fists wanting to see the throwdown right then and there.

 So, what about Greg Capullo and Jonathan Glapion that hasn't already been mentioned? There is a lot going on here scene-wise, and both penciler and inker bring their collective A-game and really knock it out of the park. The moody atmosphere that Snyder has envisioned comes to life here as Capullo and Glapion smother the underbelly with graffiti, dirt, and ghosts of the past — it's amazing how seamlessly they can change settings and nail every bit of Gotham seen here so wonderfully. There are some panels, of course, that I thought could have used a stronger delivery, especially with the big reveal. It's not distracting, but when you get an understated revelation when you're anticipating a huge denouement, it leaves you wondering. Still, the artistic treatment of Gotham as not just a city, but an embodiment all its own, is tremendous. Add a fine layer of dank colors to add to the seediness of Gotham by FCO Plascencia, and you've got a great-looking book.

It's been almost a year since the relaunch of DC's publishing line, and Snyder was a good fit to lead the way and give this book a proper direction. Capullo is certainly a breakout star because of it, and the two work great together and have brought us something definitely new to Batman. I love the approach that there are certain things in the Batman mythology that are deemed unchangeable — well, Snyder here may have just laid a game-changer on us all.

Let's play catch up. Batman #8, and Swamp Thing #7

 Swamp Thing #7 
Written by Scott Snyder 
Art by Yanick Paquette and Nathan Fairburn 
Lettering by Travis Lanham 
Published by DC Comics 
Review by Lan Pitts 
'Rama Rating: 9 out of 10

 Swamp Thing, you are amazing.

Having essentially been depowered by the Parliament of Trees, and Abigail Arcane captured by the force known as Sethe, Alec Holland has to face some hard choices and will confront even harder challenges that soon lie ahead. Scott Snyder and company are taking the first step into a world we haven't seen since Alan Moore's take on the character, and even elevates it from there.

 Right off the bat, we're diving into some deep territory here. Holland is being confronted by the Parliament and trialed on basically being too weak, from there he has to earn the right to be a force of nature again, but his reasons differ from that of the Parliament and makes him all that much more human. Snyder does not shy away from usual style of using heavy narration, especially here to demonstrate the transformation of becoming a swamp thing entails, but it's actually much less from his Batman work in the past and present. Here, it's mainly a conversation between Holland and the Trees about the good of man, and his weakness. It's pretty thought provoking, and really gives you an idea of who Holland/Swamp Thing is as a man, monster, and hero.

Without knowing much Swamp Thing mythos, everything is almost spelled out for you and potential new readers could jump right in. Now seriously, Yanick Paquette is a powerhouse here. Using vines and a quasi-nouveau floral pattern to break up the panel construction is still ingenious and gives you a sense of mysticism and sets it apart from the rest of DC's catalog right now. On top of that, you have a some brilliant, yet horrific, imagery of Swamp Thing's world that really echoes his horror roots. It's gory, but visually striking. Paquette is going near J.H. Williams III Detective Comics territory here. Nathan Fairburn is quickly becoming one of my favorite colorists in the field. His rich pallet saturates Paquette's lines, but still distinguishes itself from the characters and environment and doesn't take away from what Paquette does here, but shines it up to perfection. His use of reds and yellows here are just golden and really makes the greens stand out all the much more.

 If you've been wondering about getting into Swamp Thing but not exactly sure where to start, I say at the very least try here. The one flaw here is that it's all set up for the things to come, but you get the gist of what's going on and what's at stake. Snyder hasn't compromised the characters history, but condensed it to make it more tangible for readers unfamiliar with the Swampy universe. --------------------

 
Batman #8 
Written by Scott Snyder and James Tynion IV 
Art by Greg Capullo, Jonathan Glapion, Rafael Albuquerque, Nathan Fairburn and FCO Plascencia 
Lettering by Richard Starkings and Patrick Brosseau 
Published by DC Comics Review by Lan Pitts 
'Rama Rating: 10 out of 10
 "Get the hell out of my house."
This is how you start a crossover event. Since the relaunch of Batman, he's come to terms with learning about a secret society that is hatching plans for complete domination. They have broken him mentally and left him physically drained. The Court of Owls. Leading up to this moment, Bruce Wayne went after them on their turf, but here, the Court comes a knockin' and Bruce and Alfred defend the manor and cave the best they can. Although they are outnumbered, they aren't unmatched. Starting right off the first few pages, Greg Capullo's panel structure breathes some cinematic air onto the pages. The multitude of shots used to cover Gotham City is beautiful right next to the stern silouette of Bruce standing alone in his parlor. An image I'm sure will be a classic, given time. Another good example of this is Bruce going into the cave and seeing that they are already in there.

Scott Snyder handles Batman as we haven't seen him in a long while: at wit's end and nearly defeated. But quick on his feet and hands, ready to take down the foes invading his home with some pretty good results. Snyder upped his dialog here and we really see Alfred and Bruce working as a team, at times showing the famed butler's more comedic side. There is a distinct difference in how Snyder writes Batman and Bruce Wayne this time around. There are mild echoes of Dick Grayson as Batman as Bruce takes down some attackers. Almost quipping away as he breaks a man's arm.

Of course, the back up having Snyder team up with his American Vampire collaborater, Rafael Albuquerque as well as newcomer James Tynion IV. It's weird to see Dave McCaig's colors layer his work, but Nathan Fairburn does great work here, still implementing a warmer pallet than FCO and it's interanesting to see the two worlds collide like that. Along with all of that, you see that sort of stranglehold the Court has Gotham in. Capullo and Glapion's art is brilliant here. Together, they do some great layouts and double-page spreads. This issue heavy on the action, and the art teams pulls no punches. Capullo's eye for detail is in top form here. The crooks and nannies of the cave and Bruce's furniture are highlighted, but doesn't come across as over bearing. Clapion's inks are consistent, and very sharp. There's a lot of energy going on in almost every page.

The back-up, "The Call", features Albuquerque's usual style of broad strokes, and heavy inks, really go hand in hand with the heaviness of the situation at large. We're treated to his great handle of facial expressions and some more double-page spreads. The last one of these setting the ground work for what's to come with the crossover for Night of the Owls. It's just old-fashioned cool with a modern polish. Bruce fighting off the Court in just his night robe for the majority of the issue, shows you the fortitude this man possess. The Batcave is supposed to be his impentrable fortress, but having the Court overwhelming Bruce, also displays their cunning and strength in numbers. With Snyder multitasking duties on books, you'd think he'd run thin eventually. Batman #8 proves that the best is yet to come.

First reviews of the new year! Hello, 2012!

We're almost going on four years here at the Basement. It's still

American Vampire #22 Written by Scott Snyder Art by Rafael Albuquerque and Dave McCaig Lettering by Jared Fletcher Published by Vertigo Review by Lan Pitts 'Rama Rating: 9 out of 10 Twenty-two issues in and almost two years later, American Vampire is still one of my go-to books that I recommend to a person looking to get into reading comics, and this issue is a prime example on why that is. If you haven't been following the book since it came out, there's nothing to really stop you here. It's the beginning of a new arc, new characters, but adds to the mythos of what the American vampire really is. Here, we have Travis Kidd, a greaser-type nineteen-year-old that just happens to be quite adept at killing vampires. Of course his past comes to light and a certain vamp has wiped out his family and everyone he loves. Travis is a bit different from the slayers we've seen before. He's quick, agile, and a slight bit eccentric. He's a troubled youth, but his narration shows he is wise beyond his years. Set in the 1950s, which is almost where I thought a book like this would thrive as it was the beginning to American pop culture. There are some minor clichés here, but the set up is so clean, you can't help but root for Travis in the other three issues to come in the arc. Agent Hobbes sneaks in and his presence is the one thing that ties everything mostly together. There's no Pearl, Henry, Skinner or Felicia, but there doesn't need to be. Snyder has taken the concept of vampires here and taken them nationwide, and not just pigeonholed into any one part of the country. Everything in this issue feels self-contained and would be easy on a new reader's brain. Having Rafael Albuquerque back in the artistic driver's seat is like watching one of your favorite movies and falling back in love with it. While Jordi Bernet effectively did his thing and worked out some of the best visuals the book has had during its run, Albuquerque almost seems like he was born to recreate Smalltown, USA with a slice of macabre. His art has never been more kinetic here as the level to detail on everything from hot rod game of chicken to an old-fashioned rumble in a diner, nothing comes across as mundane. Dave McCaig's colors here with his usual pallet, but concentrates more on blues and purples, rather than the warmer choices he's more prolific with. It adds a certain layer of moodiness that fits right in Albuquerque's heavy shadows. With the original dream team that first made this book the hit it is back together, it makes you wonder how comics could get any more perfect. As mentioned, if you've heard all the buzz about this book but not sure where to start and intimidated by books in their double-digits, fear not. American Vampire #22 reads just as good and strong as it were a first issue. So hop in, buckle up, and enjoy the ride.

Witchblade #151 (Published by Top Cow; Review by Lan Pitts; 'Rama Rating: 6 out of 10): Imagine you're going to see a sequel to a movie, and you're hyped. You loved the first one and even though there is a different director, you remain hopeful that the vision and characters stay intact. However, you notice that the characters you've cared about have a different voice and direction and it deviates from what you had expected, leaving you slightly deflated. That's how I felt after I put down Witchblade #151. Having molded Sara Pezzini and the Witchblade galaxy into something mature and intelligent for the past six or so years, Ron Marz has left the book, and in his place step up writer Tim Seeley (Hack/Slash) and artist Diego Bernard (know from his work on Dynamite's The Man With No Name). I'll give it to Seeley, as he does play to his strengths with a throwback to the Michael Turner-era of Witchblade, but it felt very by the numbers. I think the first-person narrative is a bad idea; it's overwritten, and at times almost comes off as parody of hard-boiled narrative. The story's direction isn't bad, but it feels overcomplicated, like a completed puzzle that still has a few extra pieces. Bernard's art, though, is top notch. It's still weird to see Sara in this light again, but his attention to detail is strong and Sara's new world looks pretty good. I know it will probably take a while for Seeley to find Sara's groove, but this wasn't the first impression I had wanted.

Best of 2010

Gold Medal: The Unwritten (Vertigo) Deja vu, much? Yes, I'm aware I gave this book my gold medal last year, but the thing is, there is not a single book on the market that has captivated me as much as this one. Mike Carey and Peter Gross's creator-owned title has earned its place as Sandman's heir, and I feel set the standard for contemporary, mature storytelling. It's been quite the year in the world of Tom Taylor, Lizzie Hexam, and Savoy including Joseph Goebbels' phantom, vulgar rabbits, the return and sudden death of Tom's father, Wilson, and the revelation of the final Tommy Taylor book - suspense, drama, genuine humanity, and an engaging story that has me wrapped out it's finger.




Silver Medal: Strange Tales II With the first issue opening up
with a Wolverine as a lucha libre wrestler in a deathmatch-style
arena, all the while the narration of a letter written by a lost love
echoes throughout the story you realize, this isn't the normal Marvel
fanfare. Nope, this is Strange Tales II, the second collection
of stories that takes popular independent creators and artists like
Kate Beaton and Jhonen Vasquez, and let's them play in the Marvel
sandbox. The stories range from touching, to downright hilarious. I
missed out on the first series, but I made sure to check this one out.
I mean, how could you not purchase the second issue of this series
based off the cover alone?

Bronze Medal: Scotty SnyderTalk about one hell of a year. I had

seen promotions for American Vampire at my LCS leading up to it

coming out. I didn't pick it up atfirst, just because I was worn out from the whole vampire genre basically being shoved down my throat. It wasn't until I found myself reading, and enjoying, Iron Man: Noir that I decided to take the gamble with a new title with a relative unknown. Vertigo titles rarely lead me astray, and I fell head over heels for the new envisioning of what the American vampire is and Snyder's own theories and spins on the myth and folklore of the ancient creature of the night. Soon after buzz surrounds AV, Snyder becomes a DC exclusive writer, and soon after that, is announced as the writer for Detective Comics. Though, at press time only one issue of 'Tec under his direction, I just have a feeling Snyder will give the title some of its best stories yet. Quite an impressive year indeed.

What to watch for in 2011: Artifacts With only four issues out,
I couldn't really give this a place on my list, however, I am certain
this is the mega-series we will be talking about next year. With Hope
still missing, and the bearers of the Artifacts coming closer together, the end of the world draws nearer and nearer. While Ron Marz and Michael Broussard have given most creative teams a run for their money, I cannot wait to see what the remaining nine issues hold for the Top Cow characters and the universe at large.

Review 4-pack

Mystery Society #1
Written by Steve Niles
Art by Fiona Staples
Letters by Robbie Robbins
Edits by Bob Shreck
Cover by Ashley Woods
Published by IDW Publishing
Review by Lan Pitts

"Origin stories are so boring. It's not like we were exposed to explosive radiation or born on another planet...we were just exposed to hidden truths that bound us as a couple and that gave our lives purpose." -- Nick Hammond, aka Nick Mystery

With a title like "Mystery Society", you'd think it would be an assembly of villains of supernatural origin from the Golden Age of comics. Or at the very least, a gang who would fight Hanna Barbara's "Birdman". Well, if you thought either of those, I'm not sorry to disappoint because what the Mystery Society is, is way more imaginative and not at all sinister.

To sum it up, an eccentric couple come into a lot of money and form their own club that hunts out the mysteries of the world and expose them as either fake or fraud. Though in the first issue, we see something went wrong and Nick is tried for his actions which leads into a quasi origin story dealing with a Area 51, a new addition to the Mystery Society, and just some really cool gizmos and action. All of it make for a good read on a book that already had so much buzz and didn't disappoint.

Right off the bat, you'll notice the thrilling, stylish art of Fiona Staples. Her style has changed dramatically since we her work on Wildstorm's Hawkmoor series. Believe me, it's for the better. There's an angular style to it that's not too polished, but not overly rough. There's a dynamic sense to the world she's drawn, from the character design, to the spygear, to her page layouts that do wonders for the flow of the story. Speaking of story, here is Steve Niles simply at his best. Both Nick and his wife, Anastasia have a distinct voice and you get a real sense of who they are as individuals and as husband and wife with their flirting and nonchalant towards the macabre, ie how somebody could steal Edgar Allan Poe's skull.

This mini-series is sadly that, just a mini-series. I hope the creative team has its chance to tell the story they had envisioned because it has unlimited potential to become one of the books to talk about. I'm hearing the first printing has sold out, so hopefully you got your hands on this one. I'm looking forward to what this book can really do.
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Teen Titans #83 (Published by DC Comics; Review by Lan Pitts): I can't wrap my head around how awful this book is. I guess it's because I don't understand how a title that is centered around teen superheroes, with some having been around for almost twenty years or more, yet they seem to have just lost their voice that made them distinct. There doesn't seem to be a direction for the team, especially Superboy, who just comes across a lot more arrogant as usual. It is as if Felicia Henderson watched "The Hills" and decided this is what teens act like and should be. The art is pretty standard, nothing really to write home about or talk about. I have to admit, the saving grace of this book is the co-feature with the Coven (Black Alice, Traci 13, and Zach Zatara) by Rex Ogle and Ted Naifeh (of Oni's Courtney Crumrin). I wonder why the Coven are the co-feature of this particular book since those three don't really have anymore Titan's business going on. I guess it's because that they are all teenagers as well. I'm not sure if Naifeh is holding back or whether he's adapting his style to be a bit more "mainstream", but it's different from anything he's worked on. Rex Ogle has worked on comics for a few years now, but hasn't really made his mark, so hopefully this co-feature will get his name out.
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American Vampire #3
Written by Scott Snyder (co-feature by Stephen King)
Art by Rafael Albuquerque
Colors by Dave McCaig
Letters by Steve Wands
Published by Vertigo
Review by Lan Pitts

"You know, I was gonna burn you alive that wreck, but on second thought...why don't you come out and play!" -- Pearl Jones

Color me entranced by this book. You have to admit that Scott Snyder takes very little time with getting with the action, yet still manages to move along the story. There's no "talking at a table" scene here, you just get to witness newly-made vampire Pearl following her instincts and getting the job done. She still has a hint of humanity in her, but when it comes down to going after her own kind (or at least another species), she doesn't even blink. Snyder has some creative ways on the old vampire on vampire violence and it's extremely entertaining.

With Stephen King handling the Skinner Sweet backstory, and Snyder doing the main story, we see how both Sweet and Pearl handle being so-called creatures of the night. The interesting part here is how Sweet is depicted by both authors. While Snyder has him come across as a malevolent mentor, King has him sort play the bad ass. An amalgam of Wolverine, Batman, and Freddy Krueger. Essentially, somebody who you wouldn't want to cross in a dark alley. I sort of see him as the Vic Mackey of comics: somebody who you wouldn't want to be friends with, but you end up rooting for him anyways.

Rafael Albuquerque and Dave McCaig are masterminds, plain and simple. Two parts of the issue, two stories, with two completely different styles. On Pearl's feature, we have a more polished, traditional look with lovely hues of red and desert yellow to diamond blues, all looking marvelous. With Sweet's tale, McCaig uses a more painted vision, almost dreamlike and it paints an entirely new picture of the world Snyder has conceived. All the while, Alburquerque's pencils still hold the tone and visceral feel of the book.

I can't help but wondering where this book will go from here. It's a great concept, with wonderful visuals. If you're not reading American Vampire, you have my sympathy, because you are truly missing out on some bloody good times.
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Iron Man: Noir #2 (Published by Marvel Comics; Review by Lan Pitts): Second issue in of this four-part series, I find it interesting we've only seen the Iron Man suit of this universe only once and it wasn't even utilized. The cover comes across as misleading since it's not even in this issue at all, so I can understand if some people feel let down. I, on the other hand, am enjoying this adventure that really wouldn't qualify as "noir" as it comes across more as a 1930's serial, or as an Indiana Jones-like tale. Nazis, mysticism, Atlantis, and all. Where previous installments of Marvel's "noir" line have more to do with the artistic approach, this take on Iron Man is definitely more writer-centric. Not to say there's anything wrong with Manuel Garcia's style, it's rough and fits the story, but nothing to really write home about. This has been my favorite in the "noir" series since the first X-Men: Noir run and looking forward where Tony takes us next.

Slacking off here. Yes, I said slacking. Tons o'reviews!

Detective Comics #864
Written by David Hines (Co-feature by Greg Rucka)
Pencils by Jeremy Haun (Co-feature by Cully Hamner)
Inks by Jeremy Haun and John Lucas
Colors by David Baron (Co-feature by Dave McCaig_
Letters by Todd Klein (Co-feature by Jared K. Fletcher)
Published by DC Comics
Review by Lan Pitts

"I know you want the best for Gotham. You always have." - Batman

Over the past three years or so, Detective Comics has been my quintessential Bat-book. I find that it has had some of the best collaborations we've seen all decade. I fear a lot of people will be dropping this book, and sad to say I think I might be one of them. Where as Hines and Haun succeeded with Arkham Reborn, something here just fell sort flat.

After Dr. Jeremiah Arkham is revealed to the new Black Mask, he's sentenced to time in Arkham Asylum, where Batman can keep a watch on him. Where he can be monitored, and so forth, as well as give Batman information since Jeremiah has been diagnosed as a "genuine schizophrenic", which means there is some doubt he is indeed the new Black Mask. Consider Batman on the case.

Now this is where the book begins to fall apart. I wouldn't consider Jeremiah a schizo, as much as multiple personality, or something in that field. From there, we get a hint of Jeremiah's madness as he's confronted by his other inner-villains: No Face, the Mirror Man, and the Hamburger Lady. Enraged, by their visages, Jeremiah slashes them to pieces, but apparently they were real, and the cliffhanger confused me as much as the first time I watched "American Psycho". I understand it's a two-part arc, and my answers will (hopefully) be revealed in the following installment. The truth is,though, between the mediocre dialog and uninspiring art, I didn't care.

I believe Hines was trying to paint a sympathetic, yet malicious picture of Jeremiah (and there is one bit of okay dialog) but it comes off as trying too hard. I didn't feel his threat level, or believe Batman's intensity on getting answers.

Onward to the Greg Rucka, Cully Hamner and David McCaig Question and Huntress co-feature, in which the ladies take on Vandal Savage. Now at first you wouldn't suspect two urban-centric heroes to take on somebody like Savage, but Rucka has some clever moments and in doing so, the feature that is usually over-shadowed really gets to take centerstage. Hamner continues to do some of the best line work of his career, and McCaig does a great job making it look even better.

Now, the mentality of dumping a book because of Rucka making his exodus just on principle is, for a lack of a better word, silly. Though if you found Hines' style as lacking as I did, that's understandable.



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In Case You Missed It...

American Vampire #2
Written by Scott Snyder (co-feature by Stephen King)
Art by Rafael Albuquerque
Colors by Dave McCaig
Letters by Steve Wands
Published by Vertigo Comics
Review by Lan Pitts

"You, Pearl Jones, are a different kind of vampire." - Skinner Sweet

Talk about a series you can sink your teeth into. Yes, I started off with a cheesy pun. I've seen ads for a while and after a few recommendations, I checked it out. Glad I did. With the vampire craze at a fever pitch, I guess it was only a matter of time before we saw them back on our comic shelves. I honestly can't remember a vampire-themed comic I read since Crimson. Since it carried the Vertigo imprint, I wasn't sure on what to expect. Add to the fact I was not too familiar with Scott Snyder's work, save for Iron Man: Noir.


Now, I wasn't blown away by the concept, but more intrigued. Snyder has woven an interesting story about an inspiring actress named Pearl who is turned into a vampire and gets a bit of revenge in this issue. It's not glamorous. It's gutsy, it's gory, and with Raf Albuquerque, it's glorious. From Pearl's metamorphosis from human to vampire to the desert landscapes, everything seems in place and nothing is wasted. On top of that you, Dave McCaig does another stellar job, but doesn't take away from Albuquerque's work. You can feel the heat of the sun, and the cold of the morgue.

One of the best things I love about this book is that it's a double header. Yes, it has a co-feature, but unlike most of the DC co-features, the b-story is intertwined with the main story and acts as a prequel. It's also not everyday such a feature is written by one of the most prolific authors in the horror genre: Stephen King. King touched on the vampire lore with "Salem's Lot" decades ago, and it seems he hasn't lost his touch. Albuquerque and McCaig are on art duties on this one as well, and while the style is slightly different, it's just as good.

The dynamic of Pearl and her mentor of sorts, Skinner Sweet (who is the main star in the co-feature) is going to be fun and bloody, I can tell. So if you like your vampires with a little bit more balls and less sparkles, be sure to pick this up.

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X-Force #26
Written by Craig Kyle and Chris Yost
Penciled by Mike Choi
Colors by Sonia Oback
Lettered by VC's Cory Petit
Cover by Adi Granov
Published by Marvel Comics
Review by Lan Pitts

"I believe in you."

If you've been following the teasers Marvel has shown about Second Coming, you're aware that a death is on the horizon, and a major one at that. This is where it all happens. If you have NOT read this issue, consider this a warning shot, because things are about to get spoiled.

With mutant teams scattered over the country, you would think the book would seem scattered yet Kyle and Yost focus the issue mainly on Hope, Rogue and Nightcrawler trying to tackle a juiced-up Bastion to try to reach Utopia. Rightfully so, since one of those X-Men die, though if you've seen the teasers and just rationalized it all, you would know that all signs point to one person. Though, I'm getting ahead of myself.

Since this is usually considered Wolverine's team book, they play a minor part in the story, which I guess is to bring focus more on an X-Man's sacrifice and death. I love how Bastion is considered a real threat this time around. I do this his design is a bit overcomplicated, but not crossing the border as silly. The combination of Choi and Oback is one of my favorites in comicdom. I know some fans have a problem with photo-realism, but I think their style really captured the emotion of a story that is supposed to weigh heavy on a reader's heart. You have Cyclops looking speechless, Wolverine on the verge of tears and doesn't seem to believe the news of, wait for it, Nightcrawler's death. The issue feels light on dialog, but the art speaks for itself.

Kyle and Yost did what was promised, but I wish it was handled differently. Not the fact that he wouldn't have died, his death had a purpose and without vain. Just perhaps the panel direction and construction of it. It didn't feel as dramatic. I will say the imagery of Kurt with Bastion's arm sticking out of his chest is brutal, but Kurt was a man of God, and we know that he is in a much better place.

What will be the fallout from this? I can only imagine how the X-teams are feeling after losing a member that embodied their beliefs so well. Bastion received another upgrade at the end of the issue, so if you thought the slugout was brutal before, I'm sure we have another barn-burner on our hands.

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The Killer: Modus Vivendi #1 (Published by Archaia; Review by Lan Pitts): You know, this is my first experience with this character, but after reading this issue, I want to go back and try the rest out. Essentially, The Killer centers around a nameless assassin with a murky and mysterious past, whose crimes and sins are catching up with him. Some moments are intense, and reminiscent of television shows like "The Shield" and some parts even echo "The Departed", with it's gritty dialog and violence. Alex Nolent, aka Matz, has such a way of telling the story that you know everything the Killer is thinking. There is hardly any page, much less a panel, without some sort of dialog or narration. The layouts by Luc Jacamon are exquisite and reflect the serious tone of the story when it needs to be, and lets up ever so slightly when the mood changes. Yet the color selection isn't noir-ish at all and is more bright and warm, and really make the pages pop with such a bold presentation I wasn't expecting. Faithful fans of the series will want to give this a try, but readers looking for a certain edge to add to their pullbox, I strongly recommend this one.

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.