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.

250th mega post! DCnU and other goodies!

Swamp Thing #2 (Published by DC; Review by Lan Pitts; 'Rama Rating: 9 out of 10): It's only understandable that since the DC universe is in the middle of a quasi de-Alan Mooreification, that Swamp Thing would receive a new origin. What Scott Snyder has done here is explain the origin of ole Swampy and how one actually becomes a Swamp Thing. It's again, mystical in nature, as is the antithesis of the Swamp Thing, and the threat of the story: Sethe. The best way I can describe Sethe is decay incarnate. It looks like a force of pestilence and rot, in the shape of a dead bird. It warps the minds of the inhabitants of the town where Alec Holland is presently residing and it quickly turns into a horror movie. Holland is saved by a mysterious biker, though the identity of who it is is not really a shocker, but I'm okay with that and ends on a proper cliffhanger. Snyder definitely has a niche for horror comics and even does a nod to Bernie Wrightson. His take on the character is really inspiring, and I can't wait to see how this all unfolds. Yanick Paquette does some incredible work here. How he uses vine-like constructs to do panel breakdowns and the way he handles the sheer macabre of it all is a break from the norm. I do fear this title won't be given the proper chance, but in the waves of Lanterns, Bats, and Super titles, give this one a read.

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Stormwatch #2 (Published by DC; Review by Lan Pitts; 'Rama Rating: 8 out of 10): The second issue of Stormwatch is a little tricky. Paul Cornell introduces Apollo and Midnighter's first meet up as well as their invitation to Stormwatch. The book continues to push sci-fi boundaries in comics these days, even with just two issues in. The imaginative feel and imagery here almost feels like Morrison's JLA. I mean, you have our moon becoming self-aware and on the offensive. The art takes a leap of improvement in this issue with Al Barrionuevo taking on most of the pencils, with Miguel Sepulveda strictly on the moon scenes. Barrioneuvo does a great job giving the roster a more refined shape with his line work and Sepulveda carrying on a more tenuous look. I just wish it didn't feel like Cornell had put aside most of the first issue's plot developmnt and this one feels overcrowded. I'm sure he'll remedy that in future installments, but this book continues to impress me, I just don't want to get a little loss along the way.

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I, Vampire #1
Written by Joshua Hale Fiaklov
Art by Andrea Sorrentino and Marcelo Maiolo
Lettering by Pat Brosseau
Published by DC
Review by Lan Pitts
'Rama Rating: 9/10

Vampires have always been a staple of horror and fiction. No surprise then, that when DC relaunched their universe, there was this book in the mix. Originally published as backup feature in House of Mystery in the early 80's, Andrew Bennett is back once again fighting his former lover, Mary Seward, who is assembling an army to kill all of humanity. While the concept in I, Vampire is the same as it was almost thirty years ago, the look here is completely different and easily the most distinguished book of the new 52.

Let's start off by looking at the creative here. Josh Fiaklov became an indie sensation this year with the release of Echoes, published by Top Cow. His no-nonsense approach to the macabre is still in place here. His writing prowess is more or less the most engaging out of the newly relaunched books. He gives you a sense of the characters and their relationship in such few pages, the rest of the story sinks its teeth you and doesn't let up. Andrew is afraid of becoming a monster, while Mary has embraced the feral nature of the vampire, yet he still loves her.The narration between the two goes in and out of the timeline of the book, presenting it in a way that makes the readers think and caught me off guard. You get a hint of the big reveal in the beginning, but might not really understand it at first. Above all, it is accessible to new readers.

Andrea Sorrentino's art is unlike anything out there right now, especially at DC where it's practically against the grain with their house style. It's moody, stunning, and reminds me of early Mignola with the heavy use of shadows. Or the likes of Jae Lee, but with a more minimalist edge. There's not a real concentration on facial expressions or anything like that, but you still get the idea of what is going on and nothing is lost.

The superb colors by Marcelo Maiolo truly soar here. They're presented in a bold way that captures the feel of the book. The shades of red and blue indicating present time and flashbacks are a little helpful, but it's the way the colors reflect the eeriness of this world. Though a minor setback, the coloring on the caption boxes that has the dialogue between Andrew and Mary is so similar, it's difficult at times to understand who is saying what. I think red on black would have been suited better for one of the characters just for the sake of distinguishing the captions. Again, a minor setback as the the art team on here is an extreme breath of fresh air.

I'm sure a lot of readers are sick of vampires, but the presentation here is just jaw-dropping that it's hard to ignore. Nearly flawless in its execution and in company of supermen and masked vigilantes, I, Vampire has a look of its own and should not be overlooked.

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Artifacts #10
Written by Ron Marz
Art by Jeremy Haun, Sunny Gho, Ryan Sook, and Tom Feister
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts
'Rama Rating 10/10

Wow. Just wow.

Just when you think you can breathe again when Ron Marz lets up, Jeremy Haun puts the peddle to the metal and goes full blast here. Taking a look back at the nine previous issues, Marz just doesn't let up. Here, we have a more relaxed pace as we're Ji Xi's origin and a brief family reunion. It plays as more as the aftermath of the big Aphrodite IX/Cyberforce throw down, and Haun gets to really shine here, right as Marz revs the engine for the next installment.

Since Artifacts was originally planned for thirteen issues, Marz has allowed the story to take its time. Yes, it was a matter of time before Sara and Jackie saved Hope, and every new character had their chance to get a little of the lime light. Though now almost a year into it, we get some pay off, which is just a thrill for longtime readers I'm sure. What Marz has done here is nothing short of good ole classic storytelling. The pacing has been solid and comprehensive, and all the while actually leading up to something that doesn't feel it was thrown together at the 11th hour.

I've found Jeremy Haun to be hit or miss in the series, but here, he's the star of the show. I can't put my finger on it, but everything just comes across as more polished and a cleaner look than before. The layouts are more dynamic than what he's done previously and it just looks great. I do think that Sara and Jackie's reunion with Hope felt a little flat and almost cavalier, but the action and Ji's origin just nailed it. Props to Sunny Gho as he proves again that he is Top Cow's go-to king of colors and can adapt to anyone's style.

Without a doubt, Artifacts has shaped up to be everything I had hoped for and then some. It's the event in comics now and still remains strong without relying on tie-ins and I'll be there to see how this all plays out. You should pick this up and join me.

Gatling gun series of reviews

Voodoo #1 (Published by DC Comics; Review by Lan Pitts; 'Rama Rating: 9/10): This book, much like many of other DCnU titles was covered in controversy before it was even released. The notion that a "stripper" could have her own book and when a single splash page was released, it caused quite a storm of frustration from certain bloggers and raised a few eyebrows. Well, I guess it's much easier to have an opinion BEFORE reading something. Truth be told, I liked Voodoo. A lot. Ron Marz makes a splash here as he re-enters the DC universe once again. Yes, the main character is an exotic dancer, as she was in her previous incarnation. Though, Marz doesn't pander here, he sets up a solid story. The girls backstage talk about their dreams and hopes and how stripping is just another job. It's playing dress up and pretend, that's all. There's an aura of empowerment and how women own their sensuality here. Marz has made a career of writing kick-ass female leads for quite some time, and he doesn't stray from that pattern in Voodoo. Priscilla Kitaen, aka Voodoo, herself is a brutal force to be reckoned with and definitely not what she appears to be. To top it off, you have Sami Basri and Jessica Kholinne on art. Basri's line work is quite fine and simplistic. It reminds me of Joe Eisma, with a hint of Cliff Chiang. I found it not too over-rendered and gets the point across. Panel layouts are neat and clean and easy to comprehend. Kholinne's colors do the book justice and fits Basri's style. Marz rarely lets me down, and his book is no different. I wouldn't let a few naysayers get in the way of a good read, and you shouldn't either.

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Robert Jordan's The Wheel of Time #13
Written by Robert Jordan and Chuck Dixon
Art by Marcio Fiorito and Nicolas Chapuis
Lettering by Bill Tortolini
Published by Dynamite Entertainment
Review by Lan Pitts

Without going into a tirade or a gushing love letter to the Wheel of Time novel series, I have to say I am quite disappointed here. Dynamite's adaptation to the beloved fantasy series has been hit or miss, and mainly misses during the run. The rotating art team is inconsistent and here we have art that comes across as a really well put together high school project rather than work for a published comic.

Chuck Dixon does his best to adapt Jordan's style and pacing, and it shows. The book's dialogue comes out strong and in your face. You get the characters and their voices and the situation they are up against. I guess my big complaint here is that since he's straight adapting from the source material, there is a lot of telling and not showing. But that's a minor complaint in comparison to the art here. I can't exactly pinpoint the exact problem, so it might be a mixture here that rubbed me the wrong way.

Artist Marcio Fiorito has a moment or two of solid layouts and properly conveys the suspense of a high-action fight scene. The rest of the time, the line work is inconsistent going from broad to thin every other panel. On top of that, it just seems like pages of talking heads. Now, coming from a WoT fan I understand Jordan can get a bit wordy to say the least, but the artist's job is to break up the monotony of it and present some dynamic visuals. As I mentioned, there are some moments where he does let Moiraine the Aes Sedai ("wizard" for you non-WoT readers) shine and display her power accordingly. However, the next page begins a series of shoulder and headshots. It's just unfortunate. Even more so when you add the flat colors and awkward shading. It ages the characters tremendously as Mat goes from seventeen to forty-five in a single panel, and overall doesn't do the book any favors.

I had been hoping that once the action picked up, the comic would improve as well and this has not been the case. Dixon's script sums up the action pretty well, but the art side of things are still lacking. And with a series with such rich imagery, you'd think they'd turn it up a notch.

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Justice League: Dark #1 (Published by DC Comics; Review by Lan Pitts; 'Rama Rating: 8/10): This is the book I've anticipated the most since its announcement. I'm a huge fan of the supernatural cast of the DC universe and a book that spotlights the supernatural superstars is just the thing I'm looking for. What we have here is Madame Xanadu, Enchantress, Shade, Zatanna, Deadman, and John Constantine in a magical alliance that acts as the last line of defense when one of their own goes out of control. Peter Milligan has scripted some eerie imagery and Mikel Janin brings that to the page. I was big fan of both Madame Xanadu and Zatanna's solo series, so it's good to see these staples of DC's more arcane side do their thing. It's good to see Milligan acknowledge that the JLA isn't the only solution to a threat by having Superman, Wonder Woman, and Cyborg get taken down by a swarm cloud of teeth. Yes, you read that right. I have to admit, I was a bit thrown off at first when their costumes had been revealed. I still believe that Zatanna's new outfit is too "Criss Angel" for my tastes, but I've been assured she still has her classic attire when performing. It's a great first issue and doesn't give you all the answers, making you want to come back next month.

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Magdalena #8 (Published by Top Cow; Review by Lan Pitts; 'Rama Rating: 7/10 ): It's Magdalena on Magdalena violence in this latest issue. Not having the church on your side and thinking you've gone rogue isn't the best way to start your week. Patience goes up against another Magdalena, and the impostor even manages to steal the Spear of Destiny. The issue is mainly a fast-paced fight scene between the two with church politics sprinkled in. But if you're going to come back after a slight delay, come out swinging. Keu Cha's art is pretty solid, but really could have used an inker here. The background assists by Jacob Grippen add that extra bit of detail, but I think Bill Farmer is the real artistic hero here. He does his best to paint over Cha's pencils and make everything come to life, but the pencil shading is still visible and is very distracting in some places. Ron Marz continues giving Patience a voice unlike any other character out there, I just wish the art was more put together.

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Chopper #1
Written by Martin Shapiro
Art by Juan Ferreyra and Chandran Ponnusamy
Lettering by Troy Peteri
Cover by Chris Ortega
Published by Asylum Press
Review by Lan Pitts

The best way I can describe this is as "urban horror".

It's part bad girl comics, mixed with Sleepy Hollow lore set in modern day Daytona Beach. Asylum Press is hardly a stranger to these type of horror books and have made a name for themselves in the genre. We're not quite sure what is going on here, as this issues sets up the character, Christina and her bad girl ways. There's also a hint that she could be tied to Satan himself.

The panel construction is pretty basic here, but the actual panels themselves are quite elaborate. You get a sense of environment and it's never a case of talking heads. There's always something going on and it isn't stale. Juan Ferreyra has a good eye for action and lays it out well. Chandran Ponnusamy's coloring compliments Ferreyra style using a very textured pallet. You can see the added detail that Ponnusamy brought to the table. A lesser colorist could have really mishandled the linework.

The script itself isn't bad, per se, but comes across as somewhat dated. Yes, it leans toward the more mature reader as there are a couple of decapitations by a headless biker and a grizzly scene involving a disembowelment, but it's the dialogue itself that carried that impression. You can obviously see Shapiro's influences in the script, ranging from 70's horror to contemporary classics. Christina, the main character, is the typical "bad girl cheerleader" and almost cliche in her actions, but nothing too out there that I haven't seen on The Shield or Weeds.

Halloween is right around the corner and I can definitely say there is an audience for this type of work. I'm sort of interested in why she's connected to the Satantic figure and what this has to do with a headless biker. Chopped has set the ground work for a serious horror series.

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.

New reviews! Starborn! Jake Ellis! etc!

Who Is Jake Ellis? #1
Written by Nathan Edmondson
Art by Tonci Zonjic
Published by Image Comics



"No, it's more serious than that. They waited for the train to start so they would have you trapped. They were waiting for you." -- Jake Ellis


Having grown up loving the James Bond movies, my favorite being GoldenEye, and classic TV shows like The Saint and The Avengers, the spy genre holds a very special place in my life. Also, having said that, I went on a recommendation and jumped into Image's Who Is Jake Ellis?. With the opening scene actually being showed twice, you get a grip on what the story is dealing with, but at the same time you don't. Jon Moore barely escapes with his life after a deal with Spanish mob dealers goes sour. His one defense? A shadowy figure named Jake Ellis that only Jon can see and hear. The Al Calavicci to Jon's Sam Beckett.


From the start, Tonci Zonjic's (Marvel's Heralds) art leaps at you. The minimalist style reminds me of Chris Samnee, with flashes of Cliff Chiang. Heavy use of shading really captures the suspense and feel of the book. I kept on having flashbacks of Powers and Chase. Keep in mind that Zonjic is a one-man-band here, doing pencils, inks, colors, and the cover. In today's atmosphere that is becoming more and more uncommon.


Nathan Edmondson certainly sets the stage here, but for what? Is Moore a spy, or a crook? Why are the Americans after him? I suppose the big question should, of course, be who is Jake Ellis and what is his relationship with Moore? You feel as though you've walked right in the middle of a movie that's been going on for about thirty minutes, but the rest of it is so enjoyable, you really don't mind it. I'm sure that is the point, to build the mystery and fill in the blanks later. Works for me, because the first issue is properly executed.


This book isn't for anybody who likes their stories fully explained to where there is no story, but narration. I found it something interesting and rather unique. I'm not that too familiar with either writer or artist's full bibliography, but I'll definitely keep an eye out for this one. If you dug Archaia's The Killer or a fan of Jason Bourne, I would easily recommend this to you.

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Starborn #2 (Published by BOOM! Studios; Review by Lan Pitts): With the previous of this series setting the stage, this issue expands the world and gives you truly an idea of what kind of threat Benjamin Warner is now facing. On the run from creatures from the Hive. A civilization that Benjamin had thought he had created for a novel he was writing. As it turns out, his novel may be closer to fact than science fiction. Everything in his novel, the one that had been rejected on numerous occasions, is appearing before him. It is hinted on why that is, but I don't think Warner still gets it. His childhood friend is more than meets the eye as she unveils herself as his guardian and serves as the guide to the more alien scenarios and terminology. While it does sling a bit more information and out-of-this-world jargon at you, you can relate to Warner as he is just as lost and confused. The story is still coherent with Chris Roberson's direction, and the slow revealing of the mystery has great pacing. Khary Randolph is nothing short of amazing here. From layouts to use of shots, nothing is what I would call "mundane". There's a sense of energy and excitement pouring from every page. Mix in Mitch Gerad's colors and it's just stellar on the eyes. With Roberson, Randolph, and Gerad's stock on the rise, be sure to check this book out.

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Robert Jordan's The Wheel of Time #1.5 (Published by Dynamite; Review by Lan Pitts): As the resident Wheel of Time fan in these parts, I have to say, this series has been hit and miss, and sad to say mostly misses. While it has been a thrill to see characters I've been enjoying since my pre-teens leap on to the page, sometimes it just falls flat. I can't really blame Chuck Dixon, or the late Robert Jordan here. This issue was just a bit odd though. While it introduced the gleeman (read: bard) Thom and the peddler (read: traveling salesman and news bearer) that's basically it and while this issue takes place in between issues 1 and 2, it almost seems like it didn't need to be there at all. Props to Chase Conely for stepping up his game. His backgrounds look incredible and the extra bit of detail really sells the imagery. The only real complaint here is Nicolas Chapuis' colors. They go back and forth from being pretty good, to down right annoying. There are instances here where he does do a great job, but in the same page there will be a panel that is so over-saturated, it's just not pleasant. I'm sure the WoT fans out there are checking this out as I am, but I just wish it was a tad bit better.

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Echoes #1
Written by Josh Hales Fiaklov
Art by Rahsan Ekedal
Lettering by Troy Peteri
Published by Top Cow


True, it's only day three of the New Year, but I think I've read my first favorite issue of it. Echoes, not to be confused with Terry Moore's Echo, tells the story of Brian Cohn, diagnosed schizophrenic who makes the most out of life despite his condition. His father is dying and has had complications with Alzheimer's. On his death bed, Brian's father tells him a secret and what Brian finds is earth-shattering and disturbing. Of course the experience is even worse when our protagonist has missed a dose of his anti-psychotics.

Right off the bat you'll notice Rahsan Ekedal's almost watercolor/inkwashed pages. The decision to just go with grayscales enhances the mood and atmosphere the book is trying to convey. It reminded me of Hotel Dusk with it's noir approach, though Echoes has more of a horror edge.

Being the first issue out of a planned five issue series, there is a lot of set-up, I mean, this is primarily all there is here. However, the ending is the hook that will reel you in. Josh Hales Fiaklov has set this up where this could go in a multitude of directions. You can sense the paranoia and confusion going through Cohn's brain. The panel construction is dynamic that utilizes an interesting layout that gives the book the horror feel I mentioned early. With a comic, the wandering eye can spoil pages, but how this is set up, there is still a sense of danger and suspense lingering in the air.

Fiaklov excels at exploring the human brain and how it process such tragedy, even a confused one like Cohn's, which is easily the selling point on something like this. If you're looking for something new, give this a gander. I'm sure you won't be disappointed.

Quick post-holiday reviews

The Stuff of Legend: The Jungle #3
Written by Mike Raicht and Brian Smith
Art by Charles Paul Wilson III
Published by Th3rd World Studios
Review by Lan Pitts

"So you suggest they are idealists? Believers in the old ways, or coexisting, and yet these humansss bring tools to hunt us. Like the Boogeyman'sss army! The days of unity amongst us died long ago. It is best they accept their new home...and being discarded." -- The Serpent King

If you haven't been following the adventures of Max, Jester, Percy, and the rest of the gang in The Stuff of Legends, then you are missing out. When our brigade of heroes wander into the clutches of the misfit toys of the Jungle, they aren't treated to the warmest of welcomes. Soon both sides realize that they have a common fiend in the Boogeyman and make a momentary alliance. Also, a bit of the origins of the Dark are revealed in a touching way. For being "just toys", Mike Raicht and Brian Smith has given these characters have some of the most sincere dialog I have read all year.

There is only one more part until the conclusion of Volume 2, and while that is reassuring I don't have to wait until the third volume for the rest of the story, the end of this issue caught me off guard. Part Four cannot come soon enough.

For those of you unfamiliar with the style of how these books are layed out, again, I cannot express this enough: Charles Paul Wilson III is a bonafide genius. The panel composition and colors use are nothing else out there. The action scenes, particually the ones feature Jester, are intense and still carry a certain weight of drama, you forget the characters are playthings.

With Christmas/the Holiday Season around the corner, a series like this is perfect for your little reader. The series showed promise a year ago and has not let me down. It's beyond captivating and highly recommended.
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Witchblade Annual #2
Written by Ron Marz, Matthew Dow Smith
Art by Tony Shasteen, Matthew Dow Smith, Matt Haley, J.D. Mettler, Jason
Gorder, Michael Atiyeh
Lettering by Troy Peteri
Published by Top Cow
Review by Lan Pitts

"This gift came to me so that I could serve our people. So that I could
protect our people." -- Tatiana, Witchblade bearer

The second Witchblade annual just isn't a standard monthly comic, it's quite
the event. Three stories, three creative teams. All of them showcase
different traits on what defines a Witchblade bearer, though they share that
mystical nexus and some terrific stories come from it.

First story in the issue is "Stalingrad", featuring Witchblade of the era,
Tatiana, who we have seen before in past back stories and whatnot. Like Sara
Pezzini, Tatiana is a soldier in her own right. A protector and sentinel who
puts the people she defends first, even if it is the fate of a nation that
needs her and her "gift". The first thing you'll notice is Tony Shasteen and
J.D. Mettler's stunning photo-realistic art. It's not as gritty as, say,
Alex Maleev as it comes across as smoother and natural. Mettler's muted
pallet gives the pages a certain look that is rather unique this day and age
in comics. It works for the story and is a perfect match for Shasteen's
pencils and inks. The backgrounds and environments are jaw-dropping with the
sense of detail. The buildings seem towering, the facial expressions convey
genuine emotion from concern to rage that has you sucked in. Marz sheds a
bit more light on Tatiana that brings a bit of closure to the character.

The interlude of the annual, features another former Witchblade wearer, and
people of the hero, Joan of Arc. It's a bit brief, but connects the bearers
of the Witchblade as Sara has dreams of Joan using the weapon in war against
the English. At four pages long, it is there as a reminder that duty comes
before anything to the women who have been anointed to wear the relic. The
art is standard, but it's something that doesn't have that much time to
really go off and do its thing. Again, written by Marz, but with art by Matt
Haley and Jason Gorder. The detail on the hair and armor isn't over done and
gives a sleek look to Joan in battle. It's a sharp contrast to the previous
story, but serves as a perfect in-between story.

Final story of the issue is something quite unique in how it's presented.
It's mainly written as like an actual novel with bits of splashes of art
here and there: character busts, or items being talked about, or an actual
scenario. Written and illustrated by Matthew Dow Smith, "The Devil's Due" is
practically what you think of when you think of Witchblade, at least
when you think of Sara Pezzini adventures. As told through
an omnipotent point of view, Smith tells a story that shows all sides of who
Sara is, and how she thinks. She's a woman, a mother, a cop, and a
supernatural defender. The dialog is sharp, clever and insightful. The art
is poignant and moves the story along with its use of the red, white and
black splashed upon the pages.

Witchblade Annual #2 is a rare creation these days that packs a punch
and brings depth to characters that sometimes get the cold shoulder from
comic fans. It's refreshing and definitely worth a check out if not outright
buy.
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Black Panther: The Man Without Fear #513
Written by David Liss
Art by Francesco Francavilla
Lettering by VC's Joe Caramagna
Published by Marvel Comics
Review by Lan Pitts

"I will have to learn these streets, to understand their denizens as an
ordinary man. You kept in touch with Hell's Kitchen as a lawyer...I have
something a bit more humble in mind." -- T'Challa

As a Daredevil fan, the announcement that Black Panther would be the heir to
the Man Without Fear mantle I was a bit concerned. Not to say T'Challa is a
boring or mundane character that would not be worthy or anything of that
nature. It was mainly because it had just seem like a weird fit at first
thought. However, as the issue progressed, it seemed more and more that the
man formerly known as Black Panther is the proper guy for the job.

What it cuts down to is old school superhero stories with secret identities
and a job that isn't really a job, but a front. With papers forged and
created by Foggy Nelson, T'Challa becomes Mr. Okonkwo, from the Congo. He is
the new manager for a local diner and immerses himself into the alter ego,
but still prowls the streets kicking all sorts of criminal scum all over the
place.

David Liss delivers promise to what make come from the former king
with a great look at the character, but sometimes the words get in the
way of the actions. Case in point, I don't need to know about what
Vlad the Impaler can do while he is doing it. It's old school
in nature, I'll give him that, but with a book like this, less should
be more. The conversation between Matt Murdoch and T'Challa that opens
the book is interesting in the aspect of why T'Challa chose to take up
the mantle of guardian of Hell's Kitchen. What lies ahead for Matt
Murdoch still remains a mystery.

Francesco Francavilla comes on the book like a pulp hurricane, with
his angled panel construction that shows the Panther's movements and
definetly feels right for the character. I mean, he is an artistic
powerhouse in this issue holding down the fort with pencils, inks, and
colors. It's something that I am looking forward to see more of.

First impression of this new "series" is good, but something still
felt missing from the story. It still holds a lot of promise, don't
get me wrong, but those weary fans need to give the book a chance and
I'm sure they'll be won over in time.
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Magus #1
Written by Jon Price
Art by Rebekah Isaacs and Charlie Kirchoff
Lettering by Ed Dukeshire
Cover by Fiona Staples
Published by 12 Gauge Comics
Review by Lan Pitts

What would happen if magic was real, but locked away as a secret that very few people knew about much less use? That is the concept of 12 Gauge's new mini-series Magus.

I'm a fan of the more supernatural characters in comics. From Hellboy, to Witchblade, to Dr. Fate and Zatanna. I've always been attracted to the more mystical side of things, and when I saw a preview of this at HeroesCon this year past year, I knew it was going to be something to watch out for. How right I was.

Our central character, Lena Cullen, is one of those people who can use magic, but cannot control it well since magic has been sealed. It's a bit reckless. I mean, the issue starts with the display of the destructive forces she can summon. She goes on the lam and run into the rest of our supporting cast, including Father Swain. Swain is a minister that has magic of protective and healing properties, as well as a history of looking after people like Lena, the "Wilds". There are people after Lena, to stop her from disrupting reality with powers to make sure no more harm is done.

Plot aside, Jon Pirce's creativity for this story is intriguing, especially concerning the mechanics of magic and how it is used and created. The type of the person's soul, transfers externally to what sort of power they have. In the case of Lena, she is wild and unpredictable, therefore, her pyromancy comes natural. Father Swain's case is the same thing, like I mentioned, has healing properties because he is a kind soul with a protective nature.

Rebekah Isaacs has been on the indie seen for years, and Magus showcases her talents well. The world is like ours, mundane and average, but when magic comes into play, that's when the art really soars. The use of facial expressions from joy to outright panic comes across as genuine. The use of angles and landscapes are great, too, giving Magus a solid pace that never bores you.

This first issue sets things up rather well, and I plan on catching the rest of the action. It's creative, bold, and is simply unique.

Christmas from Top Cow

Suh-weet haul.

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.

Magdalena #3 and Green Hornet Annual #1

Magdalena #3
Written by Ron Marz
Art by Nelson Blake II, Sal Regla, and Dave McCaig
Letters by Troy Peteri
Published by Top Cow
Review by Lan Pitts
Click here for preview

"The boy's not here. Most of the cult is gone. They just left behind some goons...and that thing. Need a hand?" -- Patience, the Magdalena

I have to be honest here, this issue doesn't really move the plot along as it is a sort of boss battle out of a video game. Kristoff passes as a lost traveler and finds a luxurious manor with a not-so angelic hostess. Though, as you might have guessed it, he was prepared as the mistress of the house, Anichka, shows her true demonic form and pumps several rounds into her. Lucky for him, he is quickly joined by Magdalena. They do their best to make quick work of the situation and still try to get information concerning Kid Anti-Christ, who is already a few steps ahead.

From the first page you'll notice a simplistic layout, but Nelson Blake II's use of sharp angles keeps the story at a nice pace as well as engages the reader. Showing how Magdalena moved around the building a la Batman, was a change of pace and I just wonder how easy it was to creep around with that armor on. Blake's action shots are drawn beautifully with a high impact feel. When somebody is shot, stabbed, or punched, you can sense the impact he was going for. His demonic designs are creative and feel they impose an actual threat, without them being over done. Sal Regla's inking style compliments Blake's pencils exceedingly well. The first six pages of Mags prowling around is evident of that. Dave McCaig's colors are brilliant as always. The use of reds and yellows is still dominant, but he has a chance to work with blues and purples.

Ron Marz is no stranger to the realm of supernatural superheroes having done stints on Thor, and of course the characters at Top Cow for the past five years or so. He's put more than this stamp on these characters, he's breathed new life into them and expanded so much of their world. So, naturally, he excels in telling this sort of story. While Patience has a job and duty to withhold as the Magdalena, she is still having to kill a young boy. Then again, who better to take down Satan's kid than Christ's daughter? The dialog is sharp and Patience has a unique voice that comes across as militant with a feminine edge.

To be truthful if you're not picking up this book or any of the great stuff Top Cow is putting out, you're sorely missing out. Magdalena is no exception.

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Green Hornet Annual #1
Written by Phil Hester
Art by Carlos Rafael, Josef Rubenstein, and Carlos Lopez
Letters by Troy Peteri
Published by Dynamite Entertainment
Review by Lan Pitts
Click here for preview

"Our war is on crime, Kato, not people." -- the Green Hornet

As a big Green Hornet fan I am, I've been underwhelmed by Dynamite's efforts, save for the Green Hornet: Year One mini-series earlier this year. Nothing has been popping out at me or agreeing with the collective idea of what the Green Hornet is in my mind. Green Hornet Annual #1 fills that void nicely, but not in the way I would have thought.

Green Hornet Annual #1 isn't really a Britt Reid, jr story, nor is it an actual Green Hornet story. While there are flashback sequences featuring the original Green Hornet, Phil Hester really gives you and idea on who Britt is. He's tortured, but not in the same vein as say Batman or Dick Grayson. He decides to become a hero because in his heart, he feels it is the right thing to to do. Though being a hero isn't always the easiest of things, as Britt gets his ass handed to him by friend and mentor "Coach" Pollard. We learn that Britt was an already good fighter, he just lacked the discipline and had a cavalier attitude about life.

Speaking of which, on top of Britt's father being murdered, his home life isn't the best at the moment. His love interest, Julie, has moved out and he's trying to find himself within this shattered world. We know where this is all headed, but still, it's nice to see the beginnings of the new Green Hornet come across like this. We know he'll never be the man his father was, just the hero his father became.

There are two different styles going on here. One being the art used in the flashbacks showing Hornet and Kato with chiseled jaws and Adonis-like physiques. It comes across as classic 60's comic style, even the coloring has the old dotted-look to it. While in the "present", the art is clean and the facial expressions come across precise and proper. Carlos Lopez's colors comes across as too dark at times, but nothing too distracting or awful.

The Green Hornet franchise can be confusing at times for fans of the character, but not quite sure where to begin or even start. If you haven't started, I strongly suggest this issue.