Review: Bananya E.02

Oh. My. Gosh. There is more than one banana-kitty hybrid, four to be exact. Bananya number two, three, four, five, etc. have officially entered the building (or kitchen to be exact). In this episode, the narrator (that's right there is one, but I have no idea who it is) introduces the four bananyas. Honestly, I was just going to refer to them as Bananya one, two, three, and four, etc. but I guess that would be a little mean. However, technically as a bananya is not strictly an animal (it lives in a banana peel), it wouldn't be that cruel or far-fetched. Okay, moving onto the names now. I just have to point something out here; I would have most likely referred to the bananya's by colour, if not numbers, so I'm a little disappointed that the creators chose to name one of the bananya's Black Bananya. Really? Where is the creativity? I guess it's not all bad, though; Tabby and Banankyo (everybody's Madonna) are pretty um unique. Banankyo or Maddonya (the only female bananya) is hilarious; she is aloof, cute and maybe a little stuck up. Tabby, on the other hand, is so sweet; it's so obvious how infatuated he is with Banankyo.

Oh but wait, Tabby's younger brother known as Mackerel Tabby, might just take the prize for the sweetest bananya. Then there's Prince Charming or Long-haired Bananya, who seems completely oblivious to everything around him because he is too concerned with grooming himself (I think someone might love themselves a little too much). Ha but it doesn't seem to stop Banankyo from liking him (poor thing needs to get her eyes checked).

Next in the line-up is Bananya Bunch... Baby Bananya (too cute) and Daddy Bananya (which means glasses; no dad is complete without his glasses).

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Bananya E.02

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Review: Bananya E.01

Oh. My. Word...A cat just came out of a banana peel... (what is this?) its approximately 56 seconds into the anime and I'm kinda freaking out. I mean what's next? Cats growing of apple trees? Wait cats don't grow at all; I mean they do but not off trees. I am on the verge of losing all my sanity here. Someone, anyone, please help... So here's the thing, I love banana's, but I don't think I'm going to be able to look at one for a while after watching those mere 56 seconds. To add insult to injury, the cat (or kitten) is actually really cute. I just want it to hop on out of that peel, but you know seeing it's a comedy I think the chances of that happening are really slim. I've decided that, as cute as the kitty is, the whole kitten living in a banana is just pure and simply creepy. Especially when it moves, jumps, hops, whatever.

However, there is no denying the fact that every time it says "Nya" I can't help but respond by thinking "Awww." Whoever came up with the idea for this anime is very shrewd. I want to stop watching, but at the same time, I have to keep watching.

Shrewd but not very innovative. Bananya. "Bana" "Nya” But on the other hand, maybe a simple play on words is all this anime needs. I don't know; what I do know is that bananas, kitties, and banana-kitty hybrids don't and can't dream. But even if they could, would a banana-kitty hybrid really dream of becoming a full-fledged chocolate and sprinkle covered banana? Well?

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Bananya E.01

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Review: One-Punch Man vol. 7

The seventh volume of One-Punch Man is perhaps one of the most important volumes in the entire series. Not just because of the big showdown with the alien invaders in which artist Yusuke Murata delivers some of the finest pages to grace any comic on the face of the planet. Rather it’s importance comes from the storylines that it subtly builds in this volume. It is a statement from creator/writer One, in which he says, “We’re not going anywhere, we have so much more to show you.” Part of this statement is due to the manga market in which the reliance on individual popularity in the weekly shonen magazines determine if a series lives or dies. At some point though the creators become established and in a way safe. You can usually spot this stage because it’s when the story suddenly expands. The strange thing about me is that when I hit this point in most Manga, it's the very point in which I stop liking the series because a poor storyteller reveals themselves at this point. When the fear of cancellation is gone, they suddenly inflate the world with supporting characters or too many sub-plots that original reason you had for liking the story is gone. That doesn’t always happen of course, but One makes it look easy. In fact, you may not even notice that he treads the storyline for not one, but three arcs while continuing an arc that he’s already been building throughout the series. Add on top of that two subplots that aren’t a distraction from the story and suddenly a lot is going on, but it doesn’t feel that way.

One-Punch Man’s strength has always been how naturally the story flows. For instance, the final fight between Saitama and the alien leader. It’s an epic battle, but not only does it not take up the entire volume like it easily could, but the story flows right into the fight. It checks in with the other characters for just the right amount of time before the transition and then brings you right back out at the end.

As I said, the volume could have very easily made this boss fight last the entire volume. I was half expecting it since it’s practically the norm for the genre, but One surprised me again. Granted part of it is the editor that decided what chapters to place, but really if One hadn’t paced the story the way he did it wouldn’t have mattered where they cut. As it stands, though, there’s enough time for smaller stories including one in which Saitama gets arrested. It starts an interesting thread for the series, even if the scene has a relatively quick resolution.

Going back to the art, is there anyone better in Manga right now than Yusuke Murata? Sure the latter half of the book eases up on the stunning details, but can you blame him after seeing the incredibly detailed set pieces and backgrounds of the first half of the comic? The man’s hand must hurt 24/7. Even having written what I’ve written, I must give proper credit for the latter half because it is still better than any other manga I’ve ever read. It’s just such an impressive work of visual storytelling that can be appreciated by anyone that enjoys comics in any country on the planet. That’s an incredibly rare feat, but that’s how damn good his artwork is.

If volume seven is the first time you read One-Punch Man, that’s okay. As I stated in the beginning, it’s likely to be one of the most significant volumes of the series and due to One’s talented writing on the comic, it manages to recap the entire world for you while you’re reading it. You can come away with a general understanding of the whole series just from this volume. I don’t know if you can say that about too many comics.

Sometimes when a franchise booms, it just hits the market at the right time. I could make this argument for a lot of popular franchises in the North American market. Other times, there’s just a collective appreciation of the material in which the more people experience it, the more people understand that they’re witnessing something special, but you’ll have to read it to decide for yourself.

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One-Punch Man vol. 7 Writer: One Artist: Yusuke Murata Publisher: Viz Media Price: $9.99 Format: TPB; Print/Digital

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CBMFP 249: They Still Had Feet

Well kids, it's another week and another week of audio problems. Thank Google fucking Hangouts for this mess, the messy turds. But hey, if you ever wanted a podcast episode basically without Dustin, here you go! At any rate, we have a special guest on this week as we welcome Patrick Larose to the show! He's brought a dozy of a question for us to answer, but first we start off with news because that's how we roll. Bryan Singer says that Legion is connected to the X-Men movie's timeline and that's weird stuff. Rob Liefeld is bringing Youngblood back again and hey... the title should tell you everything. Doctor Strange underwent some comedic rewrites and we'll talk about what the possibly means for the movie along with some more comic movie related news.Books reviewed on this episode:

• Princeless
• Rom: Space Knight
• Seven to Eternity #1
• Hadrian's Wall #1

Previously on the CBMFP...

Don’t Believe the Hype: Comics Have Always Been About Social Justice

By Ben Boruff

Spider Jerusalem sits, feet dangling, on the roof of a strip club in a poverty-stricken district of the City and glares down at a bloody scene of misguided rebellion and police brutality—a situation that, according to comic's most famous gonzo journalist, is your fault. Surrounded by strippers and state-endorsed violence, Spider types an angry message—"If anyone in this shithole city gave two tugs of a dead dog's cock about Truth, this wouldn't be happening"—and his message reads less like the amusing monologue of a cyperpunk protagonist and more like an indictment of real-life ignorance, the type of tenacious apathy that condones police brutality and encourages xenophobic politicians to expel entire populations. Writer Warren Ellis yells at readers through Spider Jerusalem's mouth, and his message is simple: Humankind is filled with obtuse, narcissistic individuals, but there is hope. You can save yourself if you save others.

Spider Jerusalem is not alone. Transmetropolitan is one of many comic series that galvanize the efforts of activists and ethicists. A recent Breitbart article by Charlie Nash asserts that Marvel’s recent attempts at broader representation are damaging the company’s “creative integrity,” but the article fails to acknowledge the expansive history of successful, imaginative comic book characters that pushed readers to new levels of cultural awareness. Comics and graphic novels have always been about social justice, and modern discussions about comics and their extended universes should reflect that fact.

Though independent publishers showcase many of the more aggressive comic-based social commentaries, Marvel and DC have notable histories of socially responsible narratives. In the early 1970s, writer Dennis O’Neil took Green Lantern and Green Arrow on a socio-politically charged fact-finding journey across the United States. Hal Jordan and Oliver Queen debate the nuances of race relations, environmental issues, and corruption, and these storylines prove that major publishers are capable of approaching social issues with sensitivity, acknowledging complexity and avoiding polarization. This fact is most easily observed in the now famous "Snowbirds Don't Fly" story arc. In those issues, Oliver Queen discovers that Speedy, his sidekick, is addicted to heroin, but the narrative does not vilify Speedy. Instead, Hal Jordan and Speedy have a wide-reaching conversation about generational differences, and Speedy offers some thoughts about the nuanced nature of drug use: “Drugs are a symptom…and you…like the rest of society…attack the symptom…not the disease!” Eventually, the heroes discover that the drug kingpin is a crooked pharmaceutical executive who propagates anti-drug messages. O’Neil highlights the connectedness of different social issues—an act that is largely absent from modern political discourse—and his narrative encourages empathy toward those who are systemically disadvantaged.

Other comics from Marvel and DC have accomplished similar tasks. Grant Morrison’s revival of Animal Man includes discussions about animal rights; Alan Moore’s Watchmen is, in part, a critique of Reaganism; and most incarnations of the X-Men offer a connection between the misunderstood mutants and real-life marginalized groups, such as ethnic minorities and the LGBT community. Given that the social impact of a comic is difficult to quantify, it would be challenging to list every Marvel and DC comic that has contributed significantly to relevant dialogues about equality and justice, but even a cursory glance at the histories of Marvel and DC reveals one unmistakable fact: the collective oeuvre of these major publishers and their various imprints has helped shape the global zeitgeist.

Indie and alternative comics have the distinctive ability to discuss social issues in an even more targeted manner—and they often do so. Sometimes indie comics offer more candor than mainstream comics, and sometimes they shed light on underappreciated issues, important topics that have been relegated to the periphery of pop culture. As a reviewer for this website, I have encountered a number of social justice messages, including Past the Last Mountain’s sweeping commentary on tolerance, Warp Zone’s vibrant portrayal of Afrofuturism, Deer Editor’s clever analysis of prejudice, The Creators’ poignant approach to bigotry and propaganda, and Sara Rising’s satiric attacks on misogyny and xenophobia. Even Test Tube, the avant-garde epic by Carlos Gonzalez, offers some thoughts on society’s progress as part of its exploration of the human experience. Beyond this website, I have found social commentaries in comics such as Empowered by Adam Warren, Rat Queens by Kurtis J. Wiebe, and Lumberjanes, the award-winning comic from Noelle Stevenson, Grace Ellis, Shannon Watters, and Brooke Allen. All of these comics—and others like them—pick away at the hardened prejudices that obstruct progress.

The impacts of comic book activism are significant and lasting. The famous Bechdel test—the three-point assessment that shines a light on gender bias in film—was created by cartoonist and graphic novelist Alison Bechdel in 1985, and Art Spiegelman’s Pulitzer-winning Maus has sparked meaningful conversations about racism around the world since its birth in the early 1980s. In light of such results, any boundary-pushing by Marvel and DC seems both socially justified and—quite possibly—financially prudent. Readers respond to relevancy. Characters like T'Challa (1966 origin), Hector Ayala (1975) Jamie Reyes (2006), Miles Morales (2011), America Chavez (2011), Kamala Khan (2013), Jane Foster as Thor (2014), and Riri Williams (2016) are symbols of progress, and they fit well in fictional universes that have encouraged understanding and social growth for decades.

The Golden Age promoted social and political engagement, so the activism of the Modern Age should not surprise comic fans. In 1939, Superman was created, in part, to attack corrupt businessmen and foolish politicians. He was as a symbol of New Deal ideologies. Superman fought against domestic abuse, lynching, and certain aspects of capital punishment. He even battled the Ku Klux Klan in 1946. If, as 21st century consumers, we plan to critique most decisions made by comic book creators, we must do so with an appreciation of the long-standing social relevancy of comic books and comic book characters—from Superman to Question to Kai-Ro to Bunker of the Teen Titans.

Or, instead of debating the merits of new Marvel and DC characters, you can, as Spider Jerusalem says, “look out of the window instead, and do something about what you see there.”

Asa Giannini Interviews Andrew Maclean

June of this year as the conclusion of Andrew Maclean's Head Lopper, a dark, funny mix of high fantasy adventure and quirky humor. The story follows the titular warrior who embarks on a dangerous quest with only his wits, a few weapons, and the talking head of Agatha the blue witch. Head Lopper was a tour de force of action, humor, and graphic storytelling that managed to improve on Maclean's previous excellent graphic novel Apocalyptigirl. The future looks bright for the series with a new arc announced from Image comics and a bonus-laden trade to be released in October. Andrew Maclean was kind enough to talk with us about Head Lopper, Apocalyptigirl, and his influences. ASA: I'm excited to talk about Head Lopper, but before that, I'm curious about your background in comics. To a lot of fans, myself included, it seems like you appeared on the scene with a fully formed style and sensibility with Apocalyptigirl? How did you get into making comics and what was the first published work?

ANDREW: The first comic I ever drew was called Meatspace, it was written by writer Josh Gorfain. I think you can probably still get it at least on Comixology or something - but looking at that you'd be able to see that my style really wasn't fully formed yet and honestly, I think style, for me anyway, is this ever-morphing thing that is always being added to and subtracted from. But yeah, I did a story for Dark Horse Presents right before ApocalyptiGirl called SNIP SNIP, and I think that's probably around the time that I started to zero in a little bit on the way I wanted to draw.

ASA: While we're on the subject of somewhat earlier work, how did Apocalyptigirl come together? It's rare to see an adventure comic be released as a graphic novel instead of in some serialized format, so what was it like having a full, long-form story as your first major project?

ANDREW: I had already done a little bit with Head Lopper (self-publishing) when I started talking with Dark Horse, but they were really supportive of finding a good project for me. They sort of pitched me the formula of a 100 page 6x9 graphic novel and asked if I wanted to do some Head Lopper or some more SNIP SNIP stuff. At the time I had longer stories in mind for those two though so I offered them a third idea that I thought would fit the 100-page format well. That, of course, was ApocalyptiGirl.

ASA: Onwards and upwards, let's talk Head Lopper. Firstly, perhaps even more than your other work, Head Lopper is clearly a passion project for you, so what has it been like to transition it from a truly indie book to an Image book with a much wider audience?

ANDREW: Luckily both titles have felt like passion projects. I've been really lucky. But I'm a bit close to it, so it's tough to tell which has the bigger following, not to mention, new readers stumble upon both titles all the time. Sometimes word travels slowly. Mostly I try not to think about it too much and just focus on making the things.

ASA: One thing that was especially impressive about Head Lopper was that you created a high-fantasy story with loads of humor without it ever becoming a parody. Was it always your intention to play the fantasy straight and mix in some humor or did the style of the world evolve as you went?

ANDREW: Actually, I never meant for it to be a comedy. I wanted to make a comic that was simple, fun, but hopefully still badass. The jokes crept in immediately, though, partially to entertain myself, and partially because they were just kind of already there. You just needed to point them out. Having a talking head wasn't meant to be funny, but it made me chuckle right off the bat. Also - even when I did put jokes in I didn't think anyone would actually laugh. I think people's senses of humor is a little darker than I gave them credit for.

That said, where that original vision was sans humor - as humor became a characteristic of the thing, its been remained important to me that it doesn't become a parody. I love the genre too much to poke fun at it.

ASA: The relationship between Agatha and Norgal is so weird, specific, and fun.  Do you see them as friends, enemies, or some odd-couple amalgamation of the two?

ANDREW: I won't give away too much because we have more to learn about their strange bond. But I will say they are still more enemy than friend going into this next season. We'll get much more into it in the future of course, but they are still bound to each other out of necessity - otherwise, Norgal would toss her into the sea.

ASA: Beyond the adventures of Norgal, the story contains a massive fantasy story of dead kings, deceitful stewarts, and many, many monsters.  What was your basic idea for the story of Barra and Lulach? 

ANDREW: I wanted a character in Lulach that was Grima Wormtongue from The Lord of the Rings, except Lulach can swing a sword and looks at the villain, Barra, as a father figure - and the rest just kind of filled itself in. Also, I was reading a fair bit of The Song of Ice and Fire at the time, so the whole Barra/Lulach/Royal Family storyline, I think, took on some of that Game of Thrones-style intrigue.

ASA: My favorite moment in the series is the ongoing, one-sided conversation between Agatha and a skull in issue #3.  What was your idea for her as a character and her detached (literally) take on reality?

ANDREW: I just think the idea of her is funny. Making myself laugh is a fun way to make a book so if I have an idea that cracks me up I'd like to find a home for it. Well, at some point I started writing down a bunch of really simple Agatha jokes that are either her by herself or with very little else. The spider in the nose gag from issue 2 and the talking to the skull gag from issue 3 were some of those one-off jokes.

ASA: Your art seems to specialize in creative character designs and kinetic action sequences. What's your artistic process look like? Do you spend a lot of time on designs and layout?

ANDREW: I spend a fair amount of time on character design. When its right, its right, though. So sometimes you find the right look on the first pass, and you have to trust your gut. Sometimes if takes a bunch of iterations. As for layouts, I don't put a ton of effort into them on paper, but I start thinking about layouts while I write the scripts. So once I sit down with paper and pencil I at least have some idea of what I'd like to do.

ASA: Your work has been compared to that of Mike Mignola with a regularity you may well be tired of, but I noticed in Head Lopper what looked like designs based on Aztec and Gaelic tribal designs. What sort of influences influenced Head Lopper?

ANDREW: Actually, I don't mind the comparison - because it's true. A big part of what made me read comics as an adult, and in turn, made me want to make my own, was finding Mike's work. It showed me that comics can be about anything and can be drawn in any style. It really helped me look into what other types of comics might be out there.

I love all kinds of fantasy of course, but I enjoy greek and roman mythology, and heavy metal music, and I try to just squish all my favorite things into everything. I also wanted the island of Barra based on Scotland - and Barra, in some form, is a real place. I just love looking at pictures of Scotland and thought it would be wonderful to draw a lot of what I saw.

ASA: You recently announced that there will be more Head Lopper coming. Did you always have it in mind that these characters could support more adventures, or were you surprised to find you had more stories when the first was done?

ANDREW: Yeah, I've always pictured it as an ongoing thing. From the very start in fact. But Image has been really easy to work with so when we started out they asked how many issues I had in mind, and I told them I would need four big ones to tell this story. The said cool. That was that. And around issue 3, I hit them back up and just told them I wanted to make more, and clearly they were on board because issue 5 will be out in March 2017!

ASA: Finally, is there anything you are willing to tease about the next arc of Head Lopper and what's in store for Agatha and Norgal?

ANDREW: Yeah sure. I introduced a character in issue 3, Zhaania Kota Ka. This next arc revolves largely around her... and a few other new faces.

Review: Comic Blitz

Comic Blitz is a fun and very cool way to get your comic fix. The people working on Comic Blitz come across as unapologetically nerdy, and it’s nice to see. The personal touch of the staff blog posts add something I think a site like Comixology can learn from. With that said, it’s not entirely greatness from top to bottom. There is room for improvement, but overall, I want to see where Comic Blitz goes from here. Now, to address the good things about the app, I think it offers what you might not be able to get from other outlets. Along with that, you also have the added, obvious benefit of having another way to get your comics fix on the go and with minimal clutter. In my experience, I ran into some books that I would really like to review. Books from publishers that I may never have stumbled upon otherwise if not for Comic Blitz.

The list of publishers with material on the site/app include:

• DMC (Darryl Makes Comics)
• Aspen
• Bluejuice Comics
• Silver Dragon Books
• To see a full list hit the link

Also on the list is fan-favorite publisher Valiant, which brings a huge number of books to the table. Faith, Archer & Armstrong, and X-O Manowar, among many of their marquee series, make the catalog. For the Valiant fan, in particular, a subscription to Comic Blitz has a lot to offer. Otherwise, you may find your picks limited, if you’re not interested in trying a lot of new things.

In addition, the site, while solid in construction, can come across as bland, though this is hardly the only site with this problem, as even some larger sites can come across with bland outlooks. In the beginning, it’s to be expected and fine, but I hope to see some more eye-catching design as time goes on.

The site also gives off the inclination that they want feedback from fans. They want to know what kind of readers are coming and visiting. There seems to be a real effort being made to learn what they can do to make your experience even better. I like that because the idea that a solid project is working on making itself better and improving is what I think even the larger, similar sites can learn from.

The digital comics market is always growing. Everyone wants to be the next Comixology. However, similar to the comic market itself, there’s always a space for an independent go-getter to make their mark, and Comic Blitz has all the opportunity in the world to be just that. Getting started, it’s easy to dismiss the smaller catalog compared to other services because it is a new service. However, if you’re interested in supporting and seeing where Comic Blitz actually goes, I implore you to subscribe and keep in contact with the men and women behind it, and really see where your money is going.

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Check out Comic Blitz on the web!

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Unboxing: Loot Crate - August 2016

Welcome back to another Comic Bastards Loot Crate unboxing video of pleasure and joy. Made up that last part. Going to get a bit nerdy on this one since the theme for August is "Anti-Hero" and apparently, Loot Crate's definition is pretty damn loose. Sit back and enjoy two minutes of looking at stuff coming out of a box... that sounds wrong, and yet more interesting. Oh and the box turned into a hammer... these sexual metaphors will end one day I swear!

Dynamite Announces More Red Sonja and Vampirella Busts And Goods

Dynamite Entertainment continues to expand an ever-growing line of collectible items with the announcement of two destined-to-be-sought-after statues featuring the one and only She-Devil with a Sword! The Women of Dynamite: Red Sonja Bust by Arthur Adams is the first of Dynamite Entertainment's new series of busts inspired by the artwork of comic book master Art Adams! Sculpted by Jason Smith and modeled after Adams' gorgeous cover to the landmark Red Sonja #50, this Limited Edition poly-resin bust has cast metal details and stands approximately 7.5" height (to the top of Red Sonja's sword hand), with a base measuring 3" by 5.5". Packaged in a four-color display box, this highly-detailed bust celebrates one of the industry's finest artists, and one of fantasy's most iconic women.

Additionally, Dynamite will release a special variant statue in their Women of Dynamite line: the Women of Dynamite: Red Sonja Black-and-White Statue in a limited edition of just 99 pieces! This extremely limited Red Sonja statue is based on the work of comics sensation J. Scott Campbell and sculpted by the ever-talented Jason Smith, featuring the stark contrast of light and darkness. Hand-painted on cold-cast porcelain, the Red Sonja statue stands approximately 11.5" in height with a 5.5" base. This rare variant edition of the Women of Dynamite statue comes packaged in a four-color box with a hand-numbered Certificate of Authenticity. Welcome the fantasy genre's most iconic female to your collection with this rarity in three dimensions!

"I couldn't be more proud of our growing line of statues, and our first bust," says Dynamite CEO and Publisher, Nick Barrucci. "Before we were a publisher, we started Dynamic Forces for our personal love of collectibles, and to be able to bring the characters of Dynamite Entertainment to life in beautiful three-dimensional items is truly satisfying. I am only hoping that someone decides to gift ME one of these beauties this holiday season."

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The Women of Dynamite: Red Sonja Bust is available for a special introductory price of just $75.00 for a limited time, while its regular price is $89.99. The special limited edition Women of Dynamite: Red Sonja Statue retails for $249.99, and allocations may occur.

Additionally in November, Dynamite will release the official Vampirella Bottle Opener. Made of sturdy, cold-cast zinc alloy and measuring approximately 4.5" by 2" in size, the bottle opener ships in a four-color display box. Plus, two magnets on the back will allow Vampi to stick conveniently to your refrigerator door, readily available for use and on full display for your jealous friends and family! After all, not everyone has fangs to pry open their favorite beverage! Quench your thirst this November for $17.99.

These special collectibles will be solicited in Diamond Comic Distributors' September 2016 Previews catalog, the premiere source of merchandise for the comic book specialty market, and slated for release in November. Comic book fans are encouraged to reserve their items with their local comic book retailers.

Dynamite Picks Up Kickstarter Project "Myopia" by Richard Dent

Following the unprecedented success of a Kickstarter campaign supported by the likes of George R.R. Martin, Margaret Atwood, Dean Koontz, and Jim Butcher, Richard Dent brings Myopia to Dynamite! Based on Dent's award-winning story, Myopia merges speculative fiction and steampunk into a thrilling alternative reality. Armed with a special set of lenses that make him almost invisible inside the Central Lens Network, James Chase sets out on a mission to stop the new world order's violation of the Magnetic Energy Agreement. At first sold as a device to make life more convenient, the lens now works as a tool for the government to hide the devastation unleashed from excessive mining of the earth's core.

"I'm very excited to be working with Dynamite. Myopia is a passion project for me, and I couldn't have worked with a more talented illustrator," says author Richard Dent. "Patrick Berkenkotter is a perfectionist! His attention to detail and flawless renderings of human expression create the perfect balance between realism and fantasy, which was crucial in bringing the world of Myopia to life."

"I was blown away by Richard's concept for this story," says Dynamite CEO and Publisher, Nick Barrucci. "When we saw the enthusiastic response the project received from both fans and such incredible fiction writers, we knew we had the makings of a hit on our hands!"

Myopia Special #1 teams Richard Dent with artist Patrick Berkenkotter, who previously worked on both Vampirella and Dark Shadows for Dynamite, as well as multiple Marvel titles.

Richard Dent teaches Creative Writing in the National University MFA program and at Loyola Marymount University in Los Angeles. Dent's poems and short stories have been widely published, and Myopia (in screenplay form) was a finalist in the Francis Ford Coppala Screenwriting Competition and the Austin Film Festival Screenwriting Competition.

Myopia Special #1 features a cover by Cezar Rezak, and will be solicited in Diamond Comic Distributors' September 2016 Previews catalog, the premier source of merchandise for the comic book specialty market, corresponding to release in November.  Comic book fans are encouraged to reserve copies of Myopia with their local comic book retailers. Myopia will also be available for individual customer purchase through digital platforms courtesy of Comixology, Dynamite Digital, iVerse, and Dark Horse Digital.

Dark Horse to Publish Mark Perez’s “How to Win at Life by Cheating at Everything”

Dark Horse is proud to announce it is branching into the self-help book market with How to Win at Life by Cheating at Everything by Mark Perez (Accepted, Coach). Scott Shaw (The Flintstones, Captain Carrot) lends his Emmy Award–winning illustration skills to the Hollywood screenwriter’s debut illustrated prose book, a humorous how-to for burgeoning criminals. The satirical novel follows the adventures of one of the most notorious con men in the United States. Jonathan Dough (an alias, of course) relates to Perez stories from his turbulent upbringing and entertaining adulthood. In addition to the personal tales, Dough also shows how to commit crimes and pull off successful cons. The result is an in-depth and fascinating explanation of the glorious world of grift, the science behind scams, and most importantly, how to be a successful criminal.

Mark Perez explained his decision to write an illustrated novel: “I think the bummer about being a screenwriter is you need to be totally cool with the fact that most movies don’t get made. Maybe that particular script you’ve been working on for a year, the one that’s made you crazy and almost ended your marriage, will probably only be read by about four or five people (people who read ten or more scripts a day). It’s a real bummer creatively. So, when the idea came along for writing a book, I was intrigued by the fact that maybe more than four or five people would actually be reading my words. There was a different motivation behind writing the novel, something I hadn’t felt in years: the guarantee of an audience.”

How to Win at Life by Cheating at Everything goes on sale March 8, 2017.

Rebellion Acquires Classic British Comics Archive

In a major acquisition Rebellion, the independent publisher behind the bestselling comics and graphic novel imprint 2000 AD, has purchased the archive of Fleetway and IPC Youth group comics from Egmont UK Ltd. The archive is famous for the weekly comics Battle, Action, Tammy and Roy of the Rovers among many others, and the acquisition represents a significant expansion in Rebellion’s publishing portfolio, broadening its reach into the growing UK comics and graphic novel market. Rebellion’s owners and founders, Jason and Chris Kingsley, previously acquired 2000 AD, and its sister publication The Judge Dredd Megazine, from Egmont in 2000. Rebellion has gone on to return 2000 AD to the top of the sales chart as the UK’s #1 bestselling teenage newsstand comic, and its Judge Dredd collections regularly lead the UK graphic novel charts.

Jason Kingsley, Rebellion CEO, said “I particularly remember reading Action when I was a boy, and amongst other stories, Kids Rule OK and Hook Jaw have left an indelible impression on me, which is probably the reason Action caused such controversy at the time.  My brother and I, and the whole team at Rebellion, are very happy to be reuniting this archive with that of 2000 AD. I’m also delighted to see some of the ‘girls’ comics joining our company as they hold forgotten works by some of the industry’s creative giants and deserve to be read by all.”

The deal was negotiated by Ben Smith, Head of Book and Comics Publishing for Rebellion, with John Packard, Brands and Licensing Publishing Director and Alan Hurcombe, CFO for Egmont.

Ben Smith said “This archive represents a huge repository of some of the finest British comics ever published and I am delighted we have the opportunity to return these to print and develop new stories based on iconic characters. 2000 AD has gained an international reputation over the last 15 years for the quality of both its new comics and the success with which it has re-issued classics from the title’s 40-year history. Re-uniting  2000 ADwith its comic book stable mates from the 1970s and 1980s is hugely satisfying and we look forward to delivering the kind of success to this material that we have already done for ongoing series such as Judge Dredd, Sláine,Strontium Dog and many others. We cannot wait to publish unseen material from this treasury of British comics.”

Alan Hurcombe, CFO, Egmont Publishing said ‘We are delighted that Rebellion have taken over custodianship of the Fleetway archive.  They have the expertise to really make the most of this extensive range of comics includingBattle, Tammy and Roy of the Rovers.  Rebellion’s management of Judge Dredd proves that these much-loved characters will be in very safe hands.’

Dark Horse To Publish Yahtzee's Next Book

Dark Horse is excited to announce the publication of Will Save the Galaxy for Food, written by Ben “Yahtzee” Croshaw (Mogworld, Jam) and illustrated by E. M. Gist (The Strain,Death Head). Will Save the Galaxy for Food is a satirical sci-fi adventure that follows a down-on-his-luck galactic pilot struggling for survival. Space pirates, deadly yet adorable creatures, and a missing fortune make this galactic adventure an experience for the ages!

Will Save the Galaxy for Food goes on sale on February 1, 2017.

Review: Tumor

Tumor is a new take on a familiar trope: the world-weary detective who’s taken one too many blows to the head or had a few too many drinks. This time, though, the problem is a bit more serious than a bump on the noggin: our main character Frank Armstrong has a brain tumor, so his problems are a bit more serious than the usual fogginess you get from a concussion. He’s confused, moving back and forth in time and replaying his various regrets in his mind as he tries to solve one last mystery. All of it makes for a good take on the noir detective, as Armstrong’s illness enhances and complements so many of the familiar tropes of this kind of story.

Frank Armstrong has just gotten the news that he has a Glioblastoma Multiforme, a brain tumor that has gone terminal. With just a few months to live, he takes on one last job with a local drug lord, who wants him to find his missing daughter. The case quickly becomes far more complicated than that, and not just because the girl is in danger from several different groups. Frank can’t keep track of time or place, and he quickly begins to mistake the daughter with his long-absent wife. Yet the similarities between the two cases keeps Frank stuck on the case, even as he starts to fall apart.

This story is a hard read, in part because it does such a good job capturing the symptoms of a brain tumor. Granted, it’s unusually easy to rattle me with that: I’ve had a brain bleed that nearly killed me, had intracranial swelling, and my family has an increased risk of cancer, so perhaps it gets to me more easily. That doesn’t change the fact that it gets the feeling right, though. When your brain starts to swell, everything becomes so hazy, even though you feel like you make complete sense. I started confusing dreams and reality and kept thinking I was in a video game.

More than just capturing how a Glioblastoma works, though, the tumor fits in so well with this particular genre. The mystery isn’t a particularly difficult one, but it’s a mystery nonetheless, and Frank has to try and solve it while he’s impaired. Furthermore, the symptoms of the tumor feed the sense of regret he feels about his own life, which is why the case that he’s working on starts to meld with what happened to his wife. Most detective stories feature flashbacks and morose narration, but it just comes so naturally to this particular story. Plenty of detective stories feature characters who are drawn in because of personal reasons, like Vertigo, but it really comes to life here. Furthermore, Frank’s imminent mortality gives him weird moments of clarity amid the confusion; they serve both as moments of insight into the case, and insight into himself.

Beyond Frank, though, the characterization of the others is good too. Frank has a corrupt ally on the police force, Polish, who might be even more regretful of how his life turned out than Frank is. Is he a bad guy, or a friend, or both? Frank’s confusion doesn’t help matters, but it plays out well here too. The missing girl is so lost, in part because the only person helping her is a guy who seems to be losing his mind. But she also won’t accept him making her into a substitute for a dead wife; she wants to be her own person.

Finally, the art deserves some commentary. It’s fantastic in a way that you rarely see because it so perfectly serves the story it accompanies. Everything is hazy and indistinct, mixing well with Frank’s own disorientation. It allows little details to easily be changed, making Frank’s confusion between the daughter and his wife feel more real.

Tumor is a strong read; we could definitely use more innovative takes on noir like this.

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Tumor: Hardcover Deluxe Edition Writer: Joshua Hale Fialkov Artist: Noel Tuazon Publisher: Oni Press Price: $19.99 Format: Hardcover; Print

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Review: Teenage Mutant Ninja Turtles #61

I write comic reviews because I personally find it fun. I analyze stories and comics and movies in my spare time anyway and honestly, the people around me are sick of hearing it. Funneling this into written reviews is good, and I honestly look forward to it. So why did I have to drag my way through TMNT #61? I even have fun analyzing bad fiction, as the unique things that can make a story bad can be at least interesting to talk about, but I read Turtles #61 two days before starting this review, I didn’t like it then, and it’s only settled on my memory worse as the hours passed by. Don’t tell my editor it took me two days to get here. I mean it didn’t. I only got to it now. Because of time stress. Obviously. Don’t fire me.

I had to drag my way through #61 because it’s the worst kind of continuation issue: a boring, overly-wordy re-establishment of the status quo. They’re neither interesting to read nor are they interesting to talk about. The act of reading Turtles #61 reminds me of how it must feel to be the parent of a young child or my girlfriend, being told useless facts about comic minutia ad nauseum with none of the excitement of actually experiencing the work itself.

I’ve been put on record saying that comics are often better when they allow their "in-between" issues to stretch their legs and allow for the comic as a whole to feel more cohesive and well thought out, rather than panicking to make each and every issue an exciting series of climactic events in order to justify its entry fee.

The problem is, however, that this theoretical leg stretching should exist at the service of the plot, in order to give room to the individual moments that are important for feel or atmosphere. There’s not a person on Earth who genuinely wants the famous knight in the archetypal "saving the princess" story to skip over the journey to the dragon’s lair just so we can see the big fight with the dragon. Atmosphere is important. However, one of the most difficult tasks for any writer is to balance the acts of exposition and atmosphere because the two concepts are almost completely incompatible.

So answer me this: when an issue has exactly _ continuity points that it needs to exposit before moving on to bigger events, there’s a new gang in town, Alopex is missing, the world is becoming more dangerous, and Mikey is unhappy with how events are unfolding; why on Earth would you spend this much time expositing these things through dialogue? Michelangelo himself comments that the meeting that takes up the vast majority of the issue feels like ‘a stupid war counsel’ and I couldn’t help but agree. The "planning" scene of any war movie is usually very short for the same reason that heist movies usually overlay the monologue of the heist planning over the heist’s execution. Explaining a series of events that is going to come to pass so that you can be informed about them again as they’re happening is very, very boring.

What small bits of character development and recuperation from previous events we receive feels token and unnecessary. The Purple Dragon characters are as boring as they’ve ever been, much like the ancestral God characters, dragging the story and events down with them with their somber, dire attitudes. Master Splinter takes entirely too long to explain to Casey Jones the extremely simple concept of ‘you are going to be very important in coming events.' It’s a complete wash of an issue and the very definition of filler. The ending cliffhanger, the new gang kidnaps a new character who could be dangerous in some vague way, was completely token and served not even to excite readers into buying the next issue, but to in some way resemble other comics that are trying to do that.

There’s a new gang of techno-thugs. Michelangelo’s unhappy. Life is hard. You’re now completely ready for issue #62. Skip this one.

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Teenage Mutant Ninja Turtles #61 Writer: Tom Waltz Artist: David Wachter Colorist: Ronda Pattison Publisher: IDW Publishing Price: $3.99 Format: Ongoing; Print/Digital

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Review: Gangsta vol. 7

I have a bit of a strange relationship with Gangsta. Upon hearing about the anime in the works, I bought the first volume. I had heard a lot of praise for the series ranging from the story to the artwork. Unfortunately, due to just how much I have to read for review, I never got around to reading the first volume until after watching the anime. It ended up that I only moderately cared for the anime, but when I went to read the manga… I disliked it. I questioned whether or not I should even read this volume. The reason I did is that the anime ended abruptly. I don’t know if it was the ratings, money, laziness, or some combination of all three. Frankly, I wasn’t a big enough fan to find out. I was curious, though, and figured the seventh volume would probably pick up just after the tenth episode of the show or overlap it slightly.

It’s does. Perfectly.

That was a bit of a relief because I didn’t have any desire to read something I had already struggled through watching. The crazy thing… I liked this volume. I liked it a lot actually, and I don’t know why.

My problem with Gangsta is that it has this excellent idea that it continues to fuck up over and over. The idea of the handymen being this neutral party made them interesting and unique to follow. The “Dog Tags” were this aspect of the story that could represent many things; race, national origin, pretty much anything that people could be afraid of because they were different. And they had extra abilities which made them more impressive.

The ranking system for the Dog Tags ended up being the double edge sword that began the descent of the series for me because I loved the idea of these higher ups fighting each other and having video game rankings. Then there were low-level Dog Tags introduced that were just people mainly. At that point… I didn’t understand why they would even be considered a Dog Tag which left me wondering what the fuck was the point of the Dog Tags. To be frank, I’m still not entirely sure. If I remember the anime’s details correctly, they were created by the government for a war that is always brought up in the story, but then the same government wanted them all killed… or something. That’s the part that I don’t get. I don’t understand how these people with Dog Tags are created and given tags, but then also hunted and killed by the same individuals?

This volume introduces us to Hunters, or I should say continues the introduction of the Hunters. They’re ordinary people with the speed and skills to kill Dog Tags… which is just fucking confusing as well. How the fuck am I to believe that? Why would they even hate Dog Tags considering they’re just the next generation? And I wouldn’t even bother thinking of this shit if it wasn’t brought up so much in the story.

Nevertheless, the Hunters have a former Hunter’s wife, who’s not his wife because that would make shit too easy. If they were both on social media, they would list their relationship status as “complicated.” That’s pretty much it. We learn about Marco; we see his not-wife wife get her arm chopped off, and he has a tearful goodbye with a girl he raised like a daughter for fifteen years. His friend and co-worker join him in his fight, and I have to admit for a volume that removes its two main characters, this was a hell of a story. Enough so that I got excited about the spinoff starring the character Marco aka Spas.

The art and art style have always been the draw for me on this title. Kohske’s artwork stands out for a variety of reasons. It’s uncharacteristic of the genre; it’s gore and violence is teetering into the “ultra” category and above all else, it’s just really detailed and gorgeous to look view. Along with that is the panels and layouts; Kohske breaks a lot of the norms in manga. That’s my opinion, but having a bulk of manga in the last year, this one stands out because of the use of the gutters. Even though I didn’t care for the first volume, I enjoyed the art and layouts.

It’s also worth mentioning that this is a part of Viz’s Signature imprint, meaning the print is worth the money. The cover has a great feel to it. It’s coarse, smooth, and has almost a plastic feel to it. It’s also a bit bigger than most manga trades, but that’s my preference as it’s easier to hold and read without breaking the spine.

If you too wondered what the hell happened at the end of the anime, then this seventh volume is the start of the answer to that question. The main characters aren’t developed and have a slight role in the story, but the secondary characters’ shine. For as much action and violence that this story has, this particular volume has a lot of heart and character development.

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Gangsta vol. 7 Creator: Kohske Publisher: Viz/Viz Signature Price: $12.99 Format: TPB; Print/Digital

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Review: Follow the Leader #1

By Ben Boruff

My quiche is cold. I am a self-labeled glutton, and the café downtown makes a near-perfect broccoli-and-cheddar quiche. About 40 minutes ago, I ordered a slice, poured myself some hazelnut coffee, and sat down to read the first issue of Jonas McCluggage's Follow the Leader, a kaleidoscopic saga about violence, death, and hunger. After opening with an ominous depiction of death, the comic introduces Paris, an aging mafia member who is asked to facilitate gang business in a town called Larranceville. I consumed the following 30-plus pages in a few frantic minutes—and then I sat for a long while, quietly, somberly, thinking about what I had just experienced.

Eventually, I noticed that my quiche was cold. I never let my quiche get cold.

Before enjoying the delicacies of McCluggage's nuanced narrative, most readers will feast on the comic's multicolored artwork. The thick-lined silhouettes of McCluggage's weathered characters pop from the panels, contrasting the comic's often hazy, uncomplicated backgrounds. This disparity in detail highlights McCluggage's commitment to meaningful characterization: Follow the Leader is, in part, about people and the choices they make.

Paris is more than the high-ranking, Wolfe-esque member of an expanding mafia: Paris is a Titan, a Promethean protagonist who equips himself with conviction and a gun in an attempt to strong-arm the stubborn truth that he is not the most powerful entity around. A new power—a hunger—lives in Larranceville, and Paris learns slowly that his old ways—"grind your bones to make my bread," as he explains—will do little to combat the cannibalistic longing of the beings that watch from the local park.

Few stories have the ability to push quality quiche from my mind, but just a few pages of Follow the Leader seemed to eliminate my usual midday hunger. The comic's dialogue is smart, and the plot moves effortlessly. The most alluring aspect of this comic, however, is its ability to camouflage horror as mystery and violence. Behind the colorful panels and mafia-driven plot lies a ghoulish presence, a presence that seeps into the reader's consciousness slowly, forcefully, like dark clouds overtaking a once-bright spring day. Without warning, the narrative bares its teeth and bites.

Most readers will gain a better understanding of the consequences of hunger. Follow the Leader seems to assert that nourishment is a solemn sacrifice from one entity to another. Near the end of the comic, a park-dwelling creature asks Paris an important question: "Remind me...of Cain and Abel's two offerings, which did God favour the most?"

The one with blood. That is the answer.

Score: 5/5
Follow the Leader #1
Writer/Artist: Jonas McCluggage
Publisher: Self-published 

Check out the webcomic as well!

Review: Midnight Task Force #1

Midnight Task Force doesn't really feature much of a task force. And this wouldn't be a problem if the central character possessed a fraction of the charisma writer Mark London wants you to think he does. Generally, the writer struggles to grant personality to the book's conversations. Every line spoken feels like it is pushing against every other line, jockeying to establish a tone. And whatever tone is ultimately settled on feels weak, though a bit entertaining. Of particular note are protagonist Aiden's glib, self-absorbed quirks. Aiden is kind of hard to appreciate earnestly. His whole look is a stack of vaguely cyberpunk affectations. There's his long, greasy hair; the rough stubble; his glowing techno-goggles and a long coat; and, of course, a cigar habit. He's moody to the extreme. And the people around him seem to tolerate him because of his apparent skill as an investigator.

Whether or not this is all meant to be funny, I can't say. But much of your enjoyment of Midnight Task Force will come from watching this man stumble his way through social situations while hearing his petulant and grim inner monologue.

The art uses color to great effect, bathing each panel in sugary neon. Shadows creep along every surface. There's some odd perspective errors and questionable framing. Faces and Anatomy are frequently distorted as Alejandro Giraldo grapples with making pages both dynamic and naturalistic. But the artwork's most prominent and aggravating problem is an over-reliance on digital trickery to make up for some fundamental deficiencies. Really Giraldo doesn't need the blurring or pointless chromatic aberration.

It feels like fan fiction, possessing little to distinguish itself beyond the immediately recognizable features of cyberpunk. The one feature that may separate this from the glut of similarly bleak science fiction is Aiden's apparent mental illness. His Holmes-like intuition and power of observation may be gifts from a dark past that lift him above common humans. Or that same past may have broken a brilliant young man and turned him into a necessary, if talented, a social outcast. Or some combination of both? Who can say at this point?

And yet that does not make a book great or good. It makes something passable. Scratch the surface and you'll see a very plain, somewhat successful noir pastiche.

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Midnight Task Force #1 Writer: Mark London Artist: Alejandro Giraldo Publisher: Mad Cave Studios Price: $3.99 Format: Ongoing series; Print/Digital

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Review: God Complex #1

Occasionally I'll get asked if I like manga and anime, and it tends to be a more complicated question than the person asking it bargained for. When I was a teenager, I became estranged from American comics, for the most part, finding a comfortable new nest in popular Japanese manga, romanced by its clean, monochromatic art and its uncomplicated characterization. Eventually, the novelty wore off, and I found my way back to Western comics, having grown tired of the trope-heavy writing and fill-in-the-blank archetypes. Now, my relationship with manga and anime is purely in the role of the backpacker, largely sticking to creators I already have faith in or works that seem to do something unique storytelling wise, while dismissing most pilots at the first whiff of tsundere. So do I like anime? Anime is just a cultural and national category of world animation; it's unfair to categorize the entire output of Japan's diverse animation creators as some blanket concept. It follows the same logic as when people say they don't like comics but only ever mean superhero comics by the Big Two. That said, popular anime is often extremely predictable in its reliance on stock arcs and tropes, resulting in a rigid style of storytelling that for the lack of a better term could be described as anime as a genre. So, can I find enjoyment in Japanese animation and comics? Absolutely. But do I respond well to "anime storytelling"? Definitely, no. God Complex falls into a similar role to the one I noted in my earlier review of the exploitation cartoon comic Sick in the Head, as in they are both comics that pull together a series of influences and make something out of them that doesn't elevate itself even to the level of what is being mimicked. Like Sick in the Head, I've seen many better versions of what is being broadly repeated here and wonder what an audience for this book would be trying to get out of being a reader of it. The elevator pitch is at the end of the century we're currently in, people with superpowers spontaneously emerged, changing the world forever. After one with particularly powerful abilities turned megalomaniacal, a human martial artist took a stand against this tyranny and defeated him. 25 years after this, the martial artist is an old man and fears a new threat is emerging, seeking out a new hero to take his place as defender of mankind.

And who might this defender be? Why a comically large breasted woman who contrasts her upbeat tirelessly friendly personality with back alley heroics and powerful supernatural abilities. She's a hilariously terrible cook (lol), has no sense of personal boundaries (xd), and has a perpetually snarky adopted teenage son (that emoticon where it's an open mouth smile with clenched eyes). She's Goku with little bits of girls from harem comedies crammed in there. The rest of the script is a similarly familiar patchwork of jokes and scenes lifted from other things, not so much plagiarism as much as evidence that the writer is fond of the rigid recycled elements that mainstream anime uses as fuel, and blamelessly did what so many anime writers do and just repeated the formula verbatim.

But here's the thing. This is less well written than most of the mainstream anime I give up on like Fairy Tail and Soul Eater, and it's definitely less pretty to look at, so what is the appeal of going independent to read this? Just because it's independent? I love creator-owned self-published books, but not as an act of charity, but because it gives individuals the license to make whatever they want without interference from monied arbiters. Gambling on a creator owned book is about looking for personal vision, what makes that creator tick in his own right, what things they've learned and what stories they've built up. With books like God Complex what is frustrating is the feeling while reading it that the ultimate goal of the creator is for their work to be mistaken for something that is already out there and successful. Bleach was successful, so if I make it like Bleach, then people who like Bleach will like this. Except the manga mimic art style here is at best forgettably generic and at worst awkwardly limited, the storytelling and characterization cut with tap water. When you try to compete as a self-publisher with blockbuster comics by telling the same kinds of stories the same way but with the natural handicaps of being independent, the book ends up having the commercial appeal of fanfiction; a novelty to fans but ultimately a subordinate work.

So yes, I'm not the right audience for this book. I hated these jokes when I saw them in Fairy Tail. All I'm saying to people who are the right audience for this kind of book is why you would read this when you could just read Fairy Tail?

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God Complex #1 Writer: Daniel Murrell Artist: Erwin Prasetya Publisher: Split Spear Price: $4.99

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