Friday, March 16, 2012
Saga #1 review. And it's THAT good.
Wednesday, February 29, 2012
Invincible #89 review
Invincible is one of those books that are my go-to for recommending to new readers that want to get into comics. It's the perfect book for that. While I might have skipped an issue here and there, I think this one needs to be added again to my pullbox soon enough.
Invincible #89
Written by Robert Kirkman
Art by Ryan Ottley, Cliff Rathburn, and John Rauch
Lettering by Rus Wooton
Published by Image Comics
Review by Lan Pitts
Robot Rating: 8 out of 10
I really need to get back into Invincible.
I've always viewed this book as the best parts of Superman and the best parts of Spider-Man coming together to make something pretty amazing. I check in every now and then, but even with me out of the loop, Kirkman still can layout a comprehensive story that mostly anybody could follow along. I have no idea how Mark got infected with some sort of virus, but you get the idea it's serious and actually imposes a threat. He is in the care of a team of Viltrumites, and is soon aided by newly-made ally, Dinosaurus. Apparently in my reading absence, Mark established something called Invincible, Inc. It's briefly mentioned but the gist is that you pay for Invincible's protection and services. Kind of like a super-powered bodyguard and pest control, more than the actual police department. However, since he's in space it seems the business is on the verge of collapsing and Bulletproof dons Mark's costume as Invincible for a client in his absence. The last four panels give a pretty good summary of the setup for the things to come.
This is the book where Kirkman still shines. This is a comic book that isn't afraid to be a comic book. Kirkman's brand of humor, edged with some dramatic flare he continues his tradition at being a great storyteller that's not bogged down by minuet details and captures what comics can do. He manages to concentrate on a few central characters, but Invincible's universe still seems large. Only a handful of characters actually have dialog in this issue, but the pacing keeps things along and it's never dull or unnecessary. The fact you have somebody besides Mark stepping into the Invincible costume is a milestone, but doesn't take itself too seriously or make a big deal about it. Bulletproof understands that Invincible has a job to do and he'll step in in the mean time.
Ryan Ottley's still has that trademark modern day style that hearkens back to a simpler time in comics. Nothing is over rendered and everything comes out nice and polished. The layouts are solid and easy to comprehend. Though I'm curious on when Even became a lot more curvier. She looks great with them. I'm not too familiar with Cliff Rathburn's inking, though. He does a great job of fleshing out the details, without going crazy. Just adds more subtle layers to already great art. John Rauch on colors though? Man, this is just killer. I've been a big fan of his work for a long while, and his skills are in full effect here, without taking anything away from Ottley or Rathburn. It's layered accordingly, adding that extra pinch of oomph to the pages.
Saturday, February 4, 2012
Space Stallions
Space Stallions. A perfect homage to 80's cartoons like Silverhawks and Bravestarr. This was just an animation project but I hope adult swim gets a hold of this or something.
Sunday, January 8, 2012
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.
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.
Tuesday, December 27, 2011
Best of the Year: 2011
Every year the Best Shots team over at Newsarama put their heads together and individually list their thoughts on the best books/creators/titles/publishers/etc of the year. I had a difficult time narrowing my choices to a solid three, but I'm satisfied with my selections here. It's a mix of the best of what 2011 had to offer in the comic book medium.
Bronze — Artifacts (Published by Top Cow): A maxi-series like this doesn't happen every day. While you do have your Blackest Nights and your Sieges and your crossovers and your tie-ins, things can get convoluted and scattered fairly quickly. Here, you have Ron Marz being the architect of one fine story that spans throughout the Top Cow universe. There's Cyber Force, Hunter-Killer, Witchblade, Darkness, Angelus... the whole schmear! What started as Sara getting her daughter back has turned into an emotional and dangerous roller coaster for all involved. While Marz has been the voice of the story, he's had great assistance from artists on the visuals, starting with Michael Broussard, who continues to be a powerhouse, to Whilce Portacio and Jeremy Haun. It was announced that Artifacts would be now an ongoing with Marz still at the helm, it gave me hope that people that have been missing out on the series will eventually pick it up and realize they have indeed been missing out.
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Silver — Jim Henson's The Storyteller (Published by Archaia): Simply put, if you have not had a chance to read Archaia's adaptation of Jim Henson's The Storyteller, I dare say that is a crime. Showcasing a vast array of fresh faces and seasoned vets, this assortment of stories is sure to be the delight of any reader, of any age. When you have talents such as Evan Shaner, Tom Fowler, Katie Cook, Nate Cosby, Ron Marz and many more, what is there not to like? It's an eclectic group of creators and individuals that I'd love to see more work from, especially if it involves a project like this. Archaia has been on a roll with the Henson licenses and Storyteller exceeded all my expectations and gave me a reading experience I haven't had in a long while. A book like this shows the world what non-superhero comics are really capable of: a true work of art, and one of the best books of the year.
-------------------
Gold — Daredevil (Published by Marvel Comics): Yes, True Believers! The Man Without Fear has made quite the comeback this past year with a classic take on the fan favorite and Marvel staple. Brought back from the deepest depths that the character has been in since Frank Miller's run by the incredible Mark Waid and a dynamic rotating art team of Paola Rivera and Marcos Martin. After the events of Shadowland left Matt Murdock in the most depressing state I think I've ever read, the road to redemption began here. And it's just plain, old-fashioned cool. Bringing Ol' Hornhead back to his swashbuckling roots, Waid has crafted a hero that doesn't do anything radical to the character, but builds on what has been established and it's actually fun! Rivera and Martin are dynamite and creative with the visuals and it's how a hero like Daredevil should look. When you have the first issue having DD go up against classic E-lister, the Spot, and a few issues later having him outsmart his way out of a shootout, you realize this isn't the Daredevil from last year. This is what superhero comics should achieve to be like, and hands-down the best book Marvel is producing at this time.
-------------------
Item To Watch In 2012 — Justin Jordan: Image's The Strange Talent of Luther Strode has been making strides and gathering tons of buzz over the past couple of months, putting creative team Justin Jordan and Tradd Moore on everybody's radar. Recently though, USA Today named Jordan the Best New Writer, and I have to agree. While Luther is still gaining momentum, one can be sure to keep your eyes peeled on what this bright newcomer has in store.
Bronze — Artifacts (Published by Top Cow): A maxi-series like this doesn't happen every day. While you do have your Blackest Nights and your Sieges and your crossovers and your tie-ins, things can get convoluted and scattered fairly quickly. Here, you have Ron Marz being the architect of one fine story that spans throughout the Top Cow universe. There's Cyber Force, Hunter-Killer, Witchblade, Darkness, Angelus... the whole schmear! What started as Sara getting her daughter back has turned into an emotional and dangerous roller coaster for all involved. While Marz has been the voice of the story, he's had great assistance from artists on the visuals, starting with Michael Broussard, who continues to be a powerhouse, to Whilce Portacio and Jeremy Haun. It was announced that Artifacts would be now an ongoing with Marz still at the helm, it gave me hope that people that have been missing out on the series will eventually pick it up and realize they have indeed been missing out.
-------------------
Silver — Jim Henson's The Storyteller (Published by Archaia): Simply put, if you have not had a chance to read Archaia's adaptation of Jim Henson's The Storyteller, I dare say that is a crime. Showcasing a vast array of fresh faces and seasoned vets, this assortment of stories is sure to be the delight of any reader, of any age. When you have talents such as Evan Shaner, Tom Fowler, Katie Cook, Nate Cosby, Ron Marz and many more, what is there not to like? It's an eclectic group of creators and individuals that I'd love to see more work from, especially if it involves a project like this. Archaia has been on a roll with the Henson licenses and Storyteller exceeded all my expectations and gave me a reading experience I haven't had in a long while. A book like this shows the world what non-superhero comics are really capable of: a true work of art, and one of the best books of the year.
-------------------
Gold — Daredevil (Published by Marvel Comics): Yes, True Believers! The Man Without Fear has made quite the comeback this past year with a classic take on the fan favorite and Marvel staple. Brought back from the deepest depths that the character has been in since Frank Miller's run by the incredible Mark Waid and a dynamic rotating art team of Paola Rivera and Marcos Martin. After the events of Shadowland left Matt Murdock in the most depressing state I think I've ever read, the road to redemption began here. And it's just plain, old-fashioned cool. Bringing Ol' Hornhead back to his swashbuckling roots, Waid has crafted a hero that doesn't do anything radical to the character, but builds on what has been established and it's actually fun! Rivera and Martin are dynamite and creative with the visuals and it's how a hero like Daredevil should look. When you have the first issue having DD go up against classic E-lister, the Spot, and a few issues later having him outsmart his way out of a shootout, you realize this isn't the Daredevil from last year. This is what superhero comics should achieve to be like, and hands-down the best book Marvel is producing at this time.
-------------------
Item To Watch In 2012 — Justin Jordan: Image's The Strange Talent of Luther Strode has been making strides and gathering tons of buzz over the past couple of months, putting creative team Justin Jordan and Tradd Moore on everybody's radar. Recently though, USA Today named Jordan the Best New Writer, and I have to agree. While Luther is still gaining momentum, one can be sure to keep your eyes peeled on what this bright newcomer has in store.
Wednesday, November 23, 2011
It's been a couple of moons since last time.
Yeah, it's been a while. Everybody have a good Halloween? Ready for Thanksgiving tomorrow? Yeah, me neither.
So I guess a quick update is what would be the best thing right now.
I interview Polly and the Pirates team, Ted Naifeh and Robbi Rodriguez.
----------------------------------------
My Top 10 Favorite episodes of Batman: The Brave and the Bold.
----------------------------------------
Here's some "new" art. I say that because they're all from September on.
Hope everybody has a Happy Thanksgiving and a killer holiday season!
So I guess a quick update is what would be the best thing right now.
I interview Polly and the Pirates team, Ted Naifeh and Robbi Rodriguez.
----------------------------------------
My Top 10 Favorite episodes of Batman: The Brave and the Bold.
----------------------------------------
Here's some "new" art. I say that because they're all from September on.
Hope everybody has a Happy Thanksgiving and a killer holiday season!
Friday, October 7, 2011
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.
------------------
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.
------------------
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.
------------------
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.
------------------
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.
------------------
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.
Thursday, September 29, 2011
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.
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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.
--------------------
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.
--------------------
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.
--------------------
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.
Wednesday, September 28, 2011
Velma by Robbi Rodriguez
Haven't done an art post in a while. Then again, I haven't gotten any serious pieces since my birthday so there hasn't really been a point here. So, I thought I'd update this blog, as well as do a bit of art talk here. I'm sure you won't mind.
Velma by Robbi Rodriguez. Robbi's been in the indie scene for years and you'll see him this December in Uncanny X-Force and recently in New Mutants. Marvel has been picking up the indie guys as of late. I mean CB definitely knows talent and this recent pick up is no surprise.
I already have a geek girl and a Zatanna from him so I thought I'd go with a Velma this time around. I've mentioned I like the minimalist approach here. He nailed her hair and freckles and gave her a sort of serious tone. I dig it and he's happy I did so since he's happy with the piece as well.
Velma by Robbi Rodriguez. Robbi's been in the indie scene for years and you'll see him this December in Uncanny X-Force and recently in New Mutants. Marvel has been picking up the indie guys as of late. I mean CB definitely knows talent and this recent pick up is no surprise.
I already have a geek girl and a Zatanna from him so I thought I'd go with a Velma this time around. I've mentioned I like the minimalist approach here. He nailed her hair and freckles and gave her a sort of serious tone. I dig it and he's happy I did so since he's happy with the piece as well.
Wednesday, August 17, 2011
Anne Hathaway on Conan
That sounded dirty. Last night, Oscar nominated actress Anne Hathaway was a guest on Conan and discussed various projects, but of course the big discussion was her upcoming role as Selina Kyle/Catwoman.
She also raps.
She also raps.
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