Review: Allen: Son of Hellcock #1

The best way to describe Allen: Son of Hellcock, is to say that it’s homage to Conan. But only if Conan died, became a ghost and haunted his son who was nothing like him. That is the gist of Allen: Son of Hellcock and the premise alone was enough to get me to check it out. The issue begins with Hellcock in a fierce battle. We see the young stud swinging his blade and lobbing off faces and torsos. We also meet his nemesis, Lord Krong the Maleficent. The story continues showing their eternal battles and introducing us to Hellcock’s life. Then we see Hellock die and his nemesis win. I know right? The villain wins! This all pans out to a shopkeeper telling the story to a customer that is there for a wheel and basically has no idea why the hell this anthropomorphic creature is telling him the entire and complete story of Hellcock.

Allen---Son-of-Hellcock-#1-1From there we meet Allen who just so happens to work for the wheel mending merchant. Allen gives his boss some lip and then skidaddles to his therapy session. It’s worth pointing out here that this is like a modern medieval times. Think steampunk, but with barbarians and magic instead. After his therapy session Allen heads home and this when we meet dear old dad… who is haunting his son until he avenges his death.

We also meet the villains of the story, but when you hear what he’s done with society since Hellcock’s death you have to wonder if he’s really a bad guy. He also has a son and more than likely the next generation will pick up the family rivalry.

The jokes are subtle. I never cried out laughing, but I did get a chuckle here and there and read the book with a smile on my face. The writing is sharp. The writers used a clever device to introduce Hellcock’s backstory, which seems unimportant since we’re following Allen, but it’s not. We need that backstory to know what type of character we’re dealing with. He’s everything his father isn’t and so we need to see the differences instantly. This story is also a fun story to share with others. Its funnier to tell someone a line from the book than it is to read it solo. It begs to be shared with others, which is a wonderful comic experience.

The art is great. The world that’s built is full and rich. It feels very alive and strangely modern, but still archaic. The character designs are memorable and unique. There’s a lot of visual humor to the designs and I challenge you to play a fun game of “spot the differences” between young Hellcock and ghost Hellcock. With comedy though, you need strong visuals otherwise jokes will fail or fall flat. Thankfully that’s not the case here. The art supports the humor and pushes the story forward. I also strangely enjoyed the coloring a lot. It really grabs your attention so soak it in.

Overall, Allen: Son of Hellcock is a welcomed series. I wish there were more series that were comedic each month. There’s so much drama and angst in comics that just getting a good funny book is a challenge. It feels like they’re so few and far between when comedy overflows other mediums. Let’s hope Allen and other funny books are the rise of comedic comic books. If you want a laugh or just want to see a “what if” about Conan, then check out Allen: Son of Hellcock.

Score: 4/5

Allen: Son of Hellcock #1 Writers: Will Tracy, Gabe Koplowitz Artist: Miguel Porto Publisher: Z2 Comics Price: $3.99 Release Date: 12/9/15 Format: Mini-Series; Print

Review: Seduction of the Innocent #1

Sharing a name with Dr. Frederic Wertham’s infamous book which attacked comic-books for corrupting the minds of children around the world, this book gives the reader certain expectations before they even reach the first page – to some extent it lives up to them, containing brutal murder, decapitation and even Nazism there’s certainly some mature content on display here. However, where it doesn’t quite live up to expectations is in the story department where right now it shows promise but isn’t living up to it’s potential. Set in 1950s America, this series follows a group of FBI agents investigating the linked murders of numerous notable mob bosses. Seduction of the Innocent #1While perhaps not the most original idea, this is a premise which could be entertaining to watch play out – unfortunately there are some shortcomings here which make this far from a flawless debut. For starters, I feel like perhaps writer Ande Parks has revealed a little too much about this mystery considering this is only the first issue. We already know the identity of the killers and what their motives are which makes me wonder how this story is going to drag out for several issues as presumably it will. Perhaps there is more unveiling to be done as at present the antagonist’s grand plan seems wholly illogical but it’s hard to know whether that’s just a result of sloppy writing.

This story centres on a hardened veteran whose name escapes me (in fact, looking back through the issue I’m not sure if we’re even told it), and a newbie transfer by the name of Jennings who just isn’t sure if he can handle life in the big leagues. If these archetypes sound familiar to you that doesn’t surprise me. The wise-ass veteran and the unsure new recruit have been used in countless fiction works and consequentially here they feel quite tiresome. Indeed, the apparently nameless chief detective actually grew a little annoying and his snarky responses to every comment sent his way made him feel less of a believable character, and more of a wise-cracking detective caricature.

This forgettable main cast is a real detriment to this book as are the plot shortcomings. That being said, this issue isn’t without merit. The story does show some potential and is nicely brought to life by Esteve Polls whose artwork both feels modern, whilst also capturing the style of the 1950s pulp comics from which this series draws inspiration. I’m interested to see where this book goes, and will be sticking around to see whether things perk up – but needless to say if you’re a comic-book fan on a budget, this is a book you can pass on without feeling that you’re missing out on something.

Score: 3/5

Seduction of the Innocent #1 Writer: Ande Parks Artist: Esteve Polls Publisher: Dynamite Entertainment Price: $3.99 Release Date: 12/2/15 Format: Mini-Series; Print/Digital

Batman v. Superman Trailer 2: "I Thought She Was With You"

I'm not posting this to be first. You've already seen it. I'm not posting this so you can hear my thoughts, I'll save that for the podcast. I'm posting this so you can have a safe place to talk about it on the internet. Love it. Hate it. You can talk about it without someone else on the internet coming here and bashing your shit into the mud. Which would make muddy shit. Anyway, what were your thoughts on the trailer that took the internet by storm and basically revealed the plot to the film?

Another Look A 'Carver: A Paris Story'

You should have already read my review for the first issue of Carver: A Paris Story, but if you didn't then check out this great preview for the first issue. Then go read my review because it's kinda what we do here.
CARVER: A PARIS STORY, from Paul Pope's protege Chris Hunt, which includes a short story by Pope himself, debuts today. CARVER tracks notorious gentleman of fortune Francis Carver as he trots the globe on a noir-esque adventure to help the only woman he has ever loved. CARVER is the second series in the new line of creator-owned periodicals from Z2 Comics.
"While the origin of CARVER: A PARIS STORY is very personal, I wanted the book itself to take readers on a really fun, classic adventure ride," says Chris. "The character of Francis Carver is based on my childhood heroes Indiana Jones and Ernest Hemingway, while the book pays homage to CORTO MALTESE." The comic book follows the “man’s man” pioneer hero Carver as he tracks the villainous kidnapper Stacker Lee.

Review: Black Jack Ketchum #1

I have little experience with Western films, and my knowledge of the real-life Wild West is similarly minimal. As a result it was only after a quick Google that I discovered the cowboy outlaw Tom Ketchum on which this series takes inspiration was a real person. However, Black Jack Ketchum is no biopic but seemingly its own tale – and although set in Ketchum’s time, it’s unclear at this point if the titular character will even make an appearance. What is this series about then, I hear you cry? Black Jack Ketchum is a miniseries following a different Tom Ketchum, a regular man who has been mistaken for the most wanted outlaw in the land. An unfortunate situation to be in, that’s for sure. Black-Jack-Ketchum-#1-1Black-Jack-Ketchum-#1-1Hunted by forces he doesn’t understand and accompanied by a deadly young woman and a gun which inexplicably talks, this first issue chronicles Tom’s desperate attempt to clear his name and convince his pursuers that they have the wrong man. Needless to say he’s unsuccessful, otherwise this series would be rather short. This is an entertaining issue though, setting up the premise and main cast well whilst also delivering some exciting moments along the way. The opening chase sequence kicks things off with a bang, and establishes the surroundings well – granted, my inexperience with this genre means I’m no expert on what makes a Western feel like a Western, but nonetheless I felt the beautifully illustrated scenery was effective at building the baron, unfriendly landscape the genre is known for.

Indeed, the artwork by Claudia Balboni is strong throughout, also playing an instrumental part in building the intimidating persona of villain The Judge. The decision to feature fiery shades of red and orange in their introductory scene only added to the feeling that The Judge is a force to be reckoned with, and shrouding the character in shadow also gave the scene an air of mystery – even if the character’s final page reveal perhaps didn’t hit me as hard as it was intended. The page layouts are interesting with one page consisting of eight panels highlighting the relentlessness of Tom’s pursuers proving to be particularly memorable.

The issue was also well plotted by writer Brian Schirmer for the most part, although I did find myself somewhat bemused by the ending of the main story. This doesn’t spoil the issue as there’s still plenty of fun to be had here – however, it did cap my excitement a little for the next instalment as rather than leaving me pumped, this finale left me scratching my head. Speaking of confusion, the decision to include a talking gun in the main cast is one that is yet to be explained or even touched upon. I can see the merit in not laying all your cards on the table straight away, but a hint as to whether the gun’s voice is a figment of Tom’s imagination or perhaps something supernatural would have been nice. Overall though, I’m nitpicking. This issue was a fun read, and shouldn’t be dismissed due to these minor shortcomings. If you’re looking for an interesting new indie title, Black Jack Ketchum is well worth a look.

Score: 4/5

Black Jack Ketchum #1 Writer: Brian Schirmer Artist: Claudia Balboni Publisher: Image Comics Price: $3.99 Release Date: 12/2/15 Format: Mini-Series; Print/Digital

Review: X-O Manowar: Commander Trill #0

The "zero issue" concept feels like a relic of a darker, hopefully bygone, age. An age when publishers needed to push as much product as they could, to brute force mindshare whenever possible. Stories presented within these issues are typically redundant or trapped in narrative holding patterns. So their worth comes down to how much depth they add to their series. What do they reveal that we haven't already seen? What's more, stories that exclusively center on alien characters and societies can suffer from Star Trek's habit of building space people who are just humans with familiar cultures and a bunch of crap glued to their faces. X-O Manowar: Commander Trill #0 has an uphill battle in earning audience attention. And it does not make a very positive case for the continued existence of zero issues. X-O Manowar #0 - Commander Trill #0The tiny, titular Trill begins this tale as a bright-eyed young alien... boy? Is that the right term? Let's say boy. A boy with dreams of greatness. And by the issue’s close, he is a bitter and violent monster forcing his inadequacies on others. We knew where the story was headed, not just because it is told almost entirely in flashback but because it's fairly obvious, even for the uninitiated. Worse, this zero issue doesn't give us any more insight than the first issues of the main X-O Manowar series. You're expected to either not know where fate will take Trill or not care that you can find out by reading older, frankly better, issues.

I'd hoped for another action packed addition to the larger story of Aric of Dacia, as viewed through the remaining five eyes of his archenemy. Maybe some tragic tale of misspent youth and misplaced anger. Some bit of lore that lets me relate to the central Manowar villain. Instead, our baddie is written as the same selfish, entitled D-bag we always knew him to be. The core themes are rushed and harsh, but present. Those themes are that you can't be whatever you want; force of will cannot overcome every obstacle; naked ambition is not a strength, nor does it guarantee success. But, in spite of the appearance of depth, it is impossible to care about any of the narrative. Every character is busy doing more interesting things in other books. So the themes here fall flat under the weight of a flaccid lack of story.

With the barest of plots, functional art, and minimal characterization, Commander Trill #0 is just filler. Sadly, I can't recommend sacrificing your time or money here.

Score: 2/5

X-O Manowar: Commander Trill #0 Writer: Robert Venditti Artist: Francis Portela Colorist: Andrew Dalhouse Publisher: Valiant Entertainment Price: $3.99 Release Date: 12/2/15 Format: One-Shot; Print/Digital

Review: We Can Never Go Home #5

It’s been a minute, and in the meantime there have been hardcovers, there have been announcements, and there have been super-secret mixtapes. The time has come, and the final issue of the first volume of We Can Never Go Home is finally here. At the end of the last issue, our heroes Madison and Duncan had been taken to Mr. Carroll’s compound, and at the beginning of this issue, they discover they will be tested. I don’t want to give away too much of the plot, since y’all shouldn’t have been sleeping on this book to start with, but lies are revealed, beatings are laid down, and the whole team nails a super satisfying ending.

We-Can-Never-Go-Home-#5-1One thing that Rosenberg, Kindlon and Hood did extraordinarily well over the course of this series was let you, as the reader, play both sides of the superhero debate against each other. We’re never quite sure about Duncan—he’s constantly doing terrible things, but treats Madison fairly well. Madison is obviously the coolest, and always has/will be. Over the last five issues, we’ve gotten to see them go from insecure teenagers to the kinds of adults they could become, and they represent, in microcosm, everything about superheroics, from the escapism to the inherent fascism of a violent system, to the innocent delight that comes with finding out that you can do something that no one else can.

Josh Hood’s art on We Can Never Go Home has been revelatory since issue 1, panel 1, especially with Amanda Scurti and Tyler Boss’s lush neon color palette, but this issue, Hood really kicks out the jams on the sucker. The fight scenes are brutal ballets, and the quiet moments are just the right moment for you to catch your breath before the team throws you into another crazy situation. Hood also includes a lot of idiosyncratic things about Mr. Carroll that really make him stand out as the supercreep of this book; I don’t know how much of that was Hood and how much was Kindlon/Rosenberg, but kudos for unsettling me with that dude. Boss’s colors in this issue are at the peak of their powers, as well, from the gladiator fight in Mr. Carroll’s compound to the muted epilogue, everything speaks to the mood, and pushes the story along. Brian Level also stepped in on this issue to illustrate the epilogue, and his work is stellar, as always. He matches Hood’s style well enough for you to follow the action, and his sequence is really evocative of all that’s happened between the characters since the beginning of the book.

This is the first book from Black Mask that truly excited me (unless I’m misremembering and Space Riders came out first), and it has not let me down since the first issue. This is the kind of character work that many mainstream superhero books are missing, that final piece to the puzzle that reminds everyone that we don’t just read these books because the people can do cool things. We read these books because we want to see what effect being able to do these cool things has on the people. Kudos to everyone involved on this book, and to all of you who are going to pick up the collection and read it for the first time: I envy you. Now, time to throw on a Mission of Burma vinyl and wait until the next volume drops in 2016.

Score: 5/5

We Can Never Go Home #5 Writers: Matthew Rosenberg, Patrick Kindlon Artists: Josh Hood, Brian Level Colorist: Tyler Boss Letterer: David C. Hopkins Publisher: Black Mask Studios Price: $3.99 Release Date: 12/2/15 Format: Ongoing; Print/Digital

Review: The Gift

Written by guest contributor Cameron Gallagher

The Gift is one of those movies that I would refer to as an mis-marketed “Ego” movie. And by this I feel like this film came about by Joel Edgerton saying “Hey, I should write a movie where I’m a creepy guy, who is maybe good and bad and make it a plot twist…. yeah” So I’m not trying to hate on this film just yet, but the best way to summarize this film, is it felt forced.  This film was marketed as though it should be a “Stalker” film, but in the end became like propaganda.

The Gift is about a married couple, where the husband runs into a weird old friend, who basically ends up stalking them. This film was praised at the box office and other review sites, but I’m honestly not sure why. The Gift felt so forced in every way. Let’s start at the script.

the-giftThe script felt very forced in that it needed to be this “Psycho/Stalker” film with a plot twist, that in the end makes a bullying statement. It was very predictable. From the first moment the movie started and we introduce the main conflict, it was apparent that there was going to be a twist. But… the twist was honestly cliché. I knew it was coming the whole time and didn’t feel like there was any creativity in the plot behind what they were doing. It felt so much like Joel Edgerton was trying so hard to make a suspenseful stalker film with a plot twist and theme behind it all, but it was honestly boring, predictable, and seemed to try to highlight his acting, more than the plot.

The BIGGEST issue with this film is in its technicality. The is probably the worst edited film I have ever seen. Now although this seems like it would be a small issue, I found it amateur and obnoxious at times. I felt like half the cuts in this film were either too long or way to short. Now don’t get me wrong, I LOVE long shots, but this film seemed like it was trying to convey more emotion, just by holding a shot down. The same goes for cinematography. It was boring and felt sloppy at times. There even was an audio issue in one scene with Jason Bateman’s mic, which I assume was hidden in his clothing.

But, enough hate. Jason Bateman was awesome. Probably his best performance so far. He truly was convincing in his character, despite it being a weak written character. He truly did make this film for me. Not enough to outweigh the bad, but he definitely made it more interesting.

All in all, The Gift is a suspenseful film, that I feel falls flat on its face when it comes to creating an intriguing plot, and not seem like a Bullying Statement. I will give The Gift 2/5 just for Jason Bateman. Make sure to check it out for yourself and tell me what you thought!

Score: 2/5

The Gift Director: Joel Edgerton Writer: Joel Edgerton Studio: Blumhouse Productions and Blue-Tongue Films Runtime: 108 Minutes Release Date: 7/30/15

Review: The Hallow

Written by guest contributor Cameron Gallagher

Fantasy Horror is a failing genre recently that was in need of a true flagship film. The Hallow is the closest it has come so far. The Hallow is about a couple and their new born who move to a rural Ireland town, due to the husbands work with trees and nature. Some weird neighbors warn them of The Hallow, and things get out of hand as The Hallow comes for them.

This film did a lot of things right for me. It was incredibly suspenseful. There were scenes in this film that had my heart POUNDING, and when I mean scenes, I mean like 20 minutes! The actors and location really help push this feeling. They truly make you feel like there are stakes. The location is not only beautiful, but very antique and original, which I found really pleasing.

The Hallow PosterI love the concept of a Fantasy driven horror/suspense film. I love that The Hallow is a creature that lives in the woods and steals babies. It felt so fun, but I was a little disappointed at how they went about The Hallow.

One of the things that makes films like Jaws and The Babadook so scary, is the lack of knowing what is out there. You don’t actually SEE the “Villain” or “Creature” until you are fully ready for it.  Building suspense is all about what we don’t know and know. I felt like this film showed The Hallow WAY too fast in the film. Also the CGI of The Hallow was a little bit dated looking.

My biggest issue with this film is it happens SO FAST! This was a real disappointment to me, because the film really built a suspenseful story and interesting new feeling plot, but then rushed right through it. This entire movie happens within like 2 days, and the climax seems to stretch over an hour. It felt so unbalanced to me, that I couldn’t feel “Oh, this is important” or if it was just another action scene.

The Hallow is honestly a great film though, that is very creepy and will be sure to scare people. Just the lack of pacing of bad CGI creature seen to early keep this from amazing so I’ll give it a 3/5. Definitely something to watch. Go check it out and tell me what you thought of it!

Score: 3/5

The Hallow Director: Corin Hardy Writers: Corin Hardy and Felipe Marino Studio: Entertainment One Running Time: 97 Minutes Release Date: 1/25/15

Review: Carver: A Paris Story #1

Carver feels like a 70’s action movie. The story is deep, the action isn’t too heavy, but when it hits… you feel it. It’s a comic with style and presentation and frankly it owns the comic medium. Let’s back up though and figure out what this new series from Z2 Comics is all about. The issue begins with a character named Stacker Lee supposedly breaking the fourth wall, that is he appears to be talking directly to us. It becomes clear that he’s talking to someone, but we’re viewing him from their perspective at the moment which is a great double use of that story device. He actually explains to the reader what Carver is, not who, but what. Carver being our main character, but I’m not going to tell you what Stacker says. That would be like stepping on a villains amazing monologue to give cliffs notes. After this intro we meet Carver who has come to Paris at the request of someone named Catherine, but it’s not clear from the opening why he’s there and what exactly Stacker Lee has to do with anything.

Carver Cover B&@ (1)Carver has a Tom Selleck vibe, but with a facial scar so you know he’s fucking cool. Some of Stacker’s goons go to jump him and give him a message and instead of that happening Carver just opens fire on them. He kills all but one guy who can’t believe that everyone else is dead when they were really just there to rough him up and leave. Carver doesn’t care. There’s some back story and other scenes that I’m leaving out, but this interaction with the goons is the bulk of the issue and it’s fantastic!

The writing is sharp. Carver doesn’t spout off one-liners or anything like that, but he does have some great dialogue. He’s just a total badass from beginning to end and you really just want to see more from him. I hope that this is a long running series or that there will be more that follow him before this story whatever the outcome is. Carver is a character you just can’t get enough of.

The artwork is in all black and white and it really fits the story. Since it’s set in Paris the B&W art gives it a noir feel. Again, it reminded me of movies like the original Get Carter and other action movies of the era. The character designs are great and Carver has a presence that’s really hard to get across normally. Most new characters don’t grab your attention the way that Carver does. The action is fluid and easy to follow, but also dynamic. You feel the hits; you flinch at the gun fire it’s all very imposing on the reader.

What I really loved was how many comic book elements this story used. The narration, the lack of narration, going for the tropes, but then calling out how ridiculous the tropes are. It’s a book that battles itself to perfection and that’s exactly what you want from a comic. Though the framework of this story is a bit familiar, the execution is what’s incredible and different. If you love reading comics, then you definitely need to read Carver.

Score: 5/5

Carver: A Paris Story #1 Creator: Chris Hunt Publisher: Z2 Comics Price: $3.99 Release Date: 11/11/15 Format: Periodical; Print

You can also her me talk about it on this episode of the CBMFP...

Review: Broken Moon #1-3

Obviously I’m late to the party on this series. Steve Niles is a talented writer who seems to have an endless amount of ideas when it comes to horror. Sometimes he’s a hit, other times a miss. Overall I would say that Broken Moon is a hit. The premise which is set up in the first issue, is that the moon has been damaged by war on the moon. It caused cataclysmic destruction on earth and as a result vampires were able to move out from the shadows and take over the planet.

STK681618We follow a human that is checking on the vampire’s operation which includes forced breeding and slave labor. Additionally, they discover that the vampires plan on destroying the planet making it inhabitable for anyone else.

We’re also introduced to werewolves along the way. They’re turning a new leaf and refuse to eat humans anymore because it’s kind of like cannibalism. In the third issue the werewolves and the few humans they’ve met, head to Frankenstein territory and we meet ghouls and the reanimated dead. There’s a war brewing for the fourth issue against the vampires with the humans, werewolves and undead teaming up to stop them.

By far, this is one of Niles best new horror ideas. The simple twists he’s put on the different classic monsters is pretty damn cool. The only thing that’s missing from this series is memorable characters. I don’t know anyone’s names and I honestly don’t know if it matters. The series seems to be more about the idea than the people living in the world. That’s okay and all. It doesn’t stop the story from being enjoyable, but it keeps it from being truly great. In some ways it reminds me of his first work on 30 Days of Night. Which is a good thing. That book was interesting and basically had the same problem, but was incredibly memorable.

BrokenMoon02_CVRA_FINALIt also seems a bit short. I know that it’s a new series from a new publisher so it can only be so long without the risk outweighing the reward, but I’m worried the ending might suffer because of this. If it does well though, maybe the world could be explored further much like 30 Days of Night.

Nat Jones is great. His artwork adds a ton of personality to the story. His coloring is very reminiscent of Ben Templesmith’s work on the aforementioned series. There’s just a lot of things about this book that reminds me of 30 Days which is a great thing. Nothing else Niles has done has given me the same vibe, so after all this time it’s great to get that itch itched.

Jones artwork is clean and frankly cool looking. His creature design is cool. Frankenstein’s monster is fucking badass looking. They’re memorable designs that make up for a lack of memorable characters. At least memorable character names. The action could use more pages to truly shine, but it’s decent action and moves quickly. His coloring has that inverted look, but it works for this style.

The premise really caught my attention, but I was actually pleasantly surprised by how damn good this series is. Broken Moon has one issue left, but if I can get caught up in one day you can as well. It’s a quick read, but one that capture the best of Niles writing and Jones’ artwork.

Score: 4/5

Broken Moon #1-3 Writer: Steve Niles Artist: Nat Jones Publisher: American Gothic Press Price: $3.99 Website

Review: Dark Corridor #5

Tommaso continues to impress with Dark Corridor, even in a rare entry in which there may be more story than style. An interesting feature of this book is that it's hard to know who to root for.  I think at this point that I'm pretty much rooting for the dog, and though I am empathetic to varying degrees with the two factions of this comic (the Seven Deadly Daughters, and the freelance mob flunkies Pete and Mia), I also have a hard time cheering on either side.  Usually in a crime comic, you've got some type of criminal justice element involved that draws the moral boundaries, which usually get blurred by the reader's empathy with criminals who are, maybe or maybe not, slightly sympathetic characters.

Here, though, even with the Seven Deadly Daughters functioning as a great revenge story that seems squarely justifiable-- well, they're murderers.  They run people off the road and blow shit up.  Their story is one that has a clear beginning and middle: their parents were murdered by the mob, so they are now hunting down the old pricks who killed their parents.  Framed in that manner, it's hard not to root for them.

Dark-Corridor-#5-1But the interesting thing about Dark Corridor is that by making mafia-adjacent characters like Pete the de facto main characters, we become sympathetic to him as well.  After all, Pete (that we know of) didn't murder any of their parents, and is complicit in violent mafia activities for the same reason that the Daughters are involved in their own criminal schemes: circumstance.  At the same time, we don't want to root for Pete and Mia to succeed in warning the mafia bosses about the Daughters because the Daughters seem to have a pretty airtight grudge.

If that starts to sound like a "vicious circle" to you, then perhaps Tommaso's choice of "Red Circle" for the name of this city makes begins to make sense.  Here, where everybody's got a reason to shed blood, and nobody sees fit to do more than the half-decent thing, the cycle just keeps going.

Tommaso went a little bit lighter with his bag of tricks than usual this issue.  There were no page layouts built around car chase scenes, no splash-page match-cuts, and no arrows directing the reader as to how to consume a page.  Still, Tommaso demonstrates that he puts a lot of thought into how to tell his story effectively on a page without compromising any stylistic choices.  In this issue, Tommaso had to keep the plot moving more than previous ones, and though that left less time for him to indulge in action sequences, it serves to underscore how much of a presence his scenery has.

At one point, we come across a high-ranked mob dude laying in a hammock.  This alone serves to communicate the fact that this dude is fat and happy.  Tommaso, however, always takes the time to design around these figures in such a way that often a single panel is enough to make the reader say, "damn, this dude's got it good."  That same stylish flair makes for a great juxtaposition when we transition to someone's drab log cabin accommodations.

As the two threads of this comic continue to inch ever-so-slightly more towards convergence, Dark Corridor remains a worthwhile jaunt through sequential art, and increasingly becomes more readable for people who aren't just obsessed with page design and pulp.

Score: 4/5

Dark Corridor #5 Writer/Artist: Rich Tommaso Publisher: Image Comics Price: $3.99 Release Date: 12/2/15 Format: Ongoing; Print/Digital

Review: Where Is Jake Ellis? #5

Comics and delays sadly go together like an analogy about things going together. That is to say that they’re so synonymous with each other that it’s kind of old news when a book gets delayed. Sometimes it doesn’t matter. The creators have cultivated a fanbase that will support them no matter when the work arrives. Other times, it’s the kiss of death and upon a series returns… no one cares. So which is Where Is Jake Ellis? I don’t really know. I know that I’ve been following both series over the years and so I know that I would come back to it, but I don’t really know if it’s a sales hit as much as it is a critical hit.

Where-Is-Jake-Ellis-#5-1With that said, it becomes more about the issue and if it was worth the wait. To which I will say, not really. Hell, I think the ending of the last issue was a better stopping point to the mini-series. As for an ending this was average. There was a showdown, but not a spectacular one. There’s reveals, but nothing that has enough context to really be excited about. The tension and realism that the series has previously been known, now feels like something going through the motions.

Creator Nathan Edmondson’s writing style has perhaps changed too much. Since starting this book he has gone on to write for Marvel and this book is the result of that. If the art wasn’t the same then this issue wouldn’t even feel like the same series. The way the issue starts and ends is point of proof considering the issue starts uncharacteristically to the previous issues in both Who Is Jake Ellis? and Where Is Jake Ellis? It’s just clear from the construction of the issue both in the writing and the art, this series has gone though some changes and not for the better.

Tonci Zonjic is joined by Jordan Gibson to finish the issue. I couldn’t really tell there were two artists on the issue so that was a plus. I could tell that the coloring had changed or at the very least the direction for the coloring changed. The book is bright. It struck me as odd considering there was always this great usage of colors in the previous issues. There would be one hue almost intentionally used throughout the issue giving it a great and unique look. Here, the coloring is good, but it doesn’t have the same personality to it.

The final issue of Where Is Jake Ellis? is pretty basic. Unlike the first series there’s really no cliffhanger to bring you back for more. It doesn’t even give you the impression that the creators want to come back for more. It’s an ending. It’s not disappointing, but it’s not exciting either. It’s so ho-hum that that becomes the main complaint of the issue. Who can something that has been so steady and good for nine issues suddenly completely fizzle out at the end? Was it the delay or was it just the way it was always going to be, we don’t know. If you’ve been following the series then you’ll likely get this issue without reading this reviews, but if you do read this first… don’t bother. Picture an average ending that pretty much puts the series back to where it started and call it a day. Better yet, just re-read the fourth issue and soak in how great that issue was because this doesn’t hold a torch to it.

Score: 3/5

Where Is Jake Ellis? #5 Writer: Nathan Edmondson Artist/Letterer: Tonci Zonjic with Jordan Gibson Publisher: Image Comics Price: $3.50 Release Date: 12/2/15 Format: Mini-Series; Print/Digital

Review: New Lone Wolf and Cub Vol. 7

This entry in New Lone Wolf and Cub mostly serves to show how uneven this series is compared to the original. Hideki Mori is a tremendous talent.  There are panels upon splashes upon more splashes that I can showcase from this volume alone that confirm that Mori can put together a sumptuous yet somehow austere black and white page that makes him worthy of being Kojima's successor on this title.

Unfortunately, I'm reminded on a pretty consistent basis that the art in this title is not Kojima's.  That would be fine, if it wasn't often trying to be Kojima's and sharply alternating between succeeding and failing.  Mori's "failings" in this respect are actually artistic triumphs; boldly and realistically rendered buildings, silky, intricate fabrics, and more personality on character's faces than Kojima often bothered with.  But Kojima's art was magical in how the inks seemed to dance together to form an image that was already formed.  I cannot stress enough that Mori's talent is undeniable, but that his sense of style is simply very different from Kojima's and the fact that this shows is disruptive of my reading experience.  In other words, I find myself contrasting the two art styles not because of any personal bias, but because the work coerces me into doing so through Mori’s alternation between reliable imitation and taking his own direction.

New-Lone-Wolf-and-Cub-Vol-7-250The real problem with this volume was Koike's writing.  Overall, New Lone Wolf and Cub is ironically ronin-esque as a story; with the monumental climax of Lone Wolf and Cub being a perfect place to end a story, Koike decided to allow Daigoro to continue wandering on.  And yet the story wanders as well.  Moreover, this volume devolves more-or-less into softcore porn for the middle portion.  Nudity is expected in this series, as men in power are frequently shown taking advantage of women as one would expect them to do in that culture during that period.

But this volume features a character that I can't imagine has very much historical basis.  That's a far cry from the very cornerstone of what makes this series so great: the unflinching historical accuracy.  This volume shoehorns in a female Russian assassin who uses her sexuality and psuedo-hypnosis to kill her way towards her vengeful goal.  It's a stretch.  While it's refreshing to see a woman actually play a role that matters in this series-- well, at the risk of sounding ignorant, it doesn't work in this story.

I appreciate criticisms of historical fiction where people point out that there were people of color present and women had certain roles that often get glossed over in favor of reinforcing our comfortable, patriarchal perception of both history and the current status quo.  I think such criticisms are spot-on and central to understanding a lot of current problems not just in art, but in society as a whole.  The problem here isn't that "some woman" showed up; it's the fact that her abilities, her origin, the tasks she's performing, the manner in which she is present-- all of these things are problematic from a narrative standpoint, a stylistic standpoint, and even a feminist standpoint.  Her depiction, her very existence in this story, errs more on the side of sexual object than it does on anything else.  The fact that Koike is condescending to the reader and acting as if she's more is unfortunate.

And of course, to return to my main concern, imported female Russian assassins certainly sound like a zesty addition to a stale story, as New Lone Wolf and Cub has certainly become sort of stale by this point.  But in a series that lives and dies by the fact that it delivers laser-focused historical accuracy, this character's addition to this volume felt confused.

The magic present in Lone Wolf and Cub wanes in this entry to its sequel.  Stellar art doesn't maintain the same kind of stylistic oneness that made Kojima's contributions so iconic, and Koike has to put in too much effort to liven up a story that's just not that interesting.

Score: 2/5

New Lone Wolf and Cub Vol. 7 Writer: Kazuo Koike Artist: Hideki Mori Publisher: Dark Horse Comics Price: $13.99 Release Date: 12/2/15 Format: Trade Paperback; Print/Digital

Review: This Damned Band #5

Okay, this comic is crazy. What begins as a mockumentary style 1970s rock n’ roll story twists and turns into a wild psychedelic trip through comic history and occultism. Certainly this comic was billed as “Spinal Tap meets Ghostbusters” but it’s much more than that. The first few issues in this six part mini-series display the band lightly mocking the occult in their documentary segments, while taking part in normal classic rock debauchery whilst on tour. By issue four, everything has changed and this comic finally piqued my interest.

Author Paul Cornell is obviously a fan of Spinal Tap or this book wouldn’t exist. But that’s far from a bad thing, though some of his jokes miss the mark a bit. Creating a mockumentary style comic is a difficult feat, and it shows. The comic tries to frame the panels in the context of a documentary, with word bubbles appearing from off-screen characters, and the boom microphone dangling in the shots. This goal is accomplished to a degree, but sometimes it just doesn’t work completely due to the nature of the medium, but it is a valiant effort and it works enough in the context of the comic.

This-Damned-Band-#5-1Up to this point the story dragged, building upon a weird story of drugs and a popular rock n’ roll band and their groupies. It seemed unfocused, drifting between the main cast of characters (the band) and their wives and girlfriends on a world tour. It gets difficult to relate to any one character and keep track of all of the mayhem between them. The storyline is odd and fairly predictable as we see a band at the peak of their popularity on the verge of crumbling apart. It’s a story that we have seen countless times before, though to This Damned Band’s credit not so much in comic form. The story lost me a bit in the early issues but brought me back in during issue four where a mushroom trip turns into a fun ride through comic history. Artist Tony Parker gets to flex a little as he takes the lead guitarist into a Windsor McCay Little Nemo landscape, and then takes the rest of the band into a Herge inspired mansion. It was unexpected and fun to see a character’s drug induced hallucinations as old comics and a welcome nod to some classics for avid comic fans.

Issue five picks up after a run in with French drug dealers coming to collect, and the band’s tour manager revealing himself as an occult master. Finally some weird black magic stuff goes down, it took long enough. The band goes on to play their last show of the tour, and with several groupies missing there is a sense of unease amongst them. They hire a group of radical occultists to be body guards at the show, and in a direct homage to the Rolling Stones Gimme Shelter documentary where the “Summer of Love” ended in violence, Motherfather’s last show ends similarly. Though instead of a biker stabbing someone, Clive (the band’s founder) reveals himself as Satan. This is really no surprise, but it’s still cool to see him finally drop the shroud. He plans on recording this last show and releasing a live album with its black magic sound enslaving millions of listeners. The entire crowd is meant to be sacrificed to Satan and the band is merely a piece in his plan. The band opposes this sacrifice and are prepared to face whatever comes next.

This is the premise that I was waiting for since issue one. It’s ridiculous, over the top, and totally awesome. Finally This Damned Band plays out like the Faustian, heavy metal, drug-induced roller coaster that it was meant to be. Cornell really turned the volume up all the way for the build-up to the final issue of this wild mini-series.

Score: 3/5

This Damned Band #5 Writer: Paul Cornell Artist: Tony Parker Colorist: Lovern Kindzierski Publisher: Dark Horse Comics Price: $3.99 Release Date: 12/2/15 Format: Mini-Series; Print/Digital

Review: Rowans Ruin #3

Rowans Ruin is a book that, for me, has become progressively more challenging to review; not because the weave of its story has become more complex, but because it has meandered into a penultimate issue that is at once confusing and predictable. That’s no small feat, I’ll grant you. Still, if this book didn’t have just one more issue left in its limited run, I definitely would have dropped it after this outing. Oddly enough, Rowans Ruin #3 has quite a few elements that should, on paper, make it an exciting read: conversations with glowing green gruesome ghosts, mysterious suicides, psychoanalytic sleuthery, misadventure in microfiche and even a “twist” ending. And yet, for the most part, I found this issue to be pretty boring, which is not something you want in the setup to a story’s big finish.

Rowans-Ruin-#3-1As the book’s foreign exchange blogger-turned-gumshoe (Katie) gets closer to solving the grizzly history of her adopted stately British manor, she indeed encounters disquieted apparitions, unseen attackers and (if Mike Perkins’ art can be trusted) Saturday Night Live’s Church Lady, but the clues that lead her there are convenient, with a lead up that is rife with uninteresting goings-on, and a reveal that is less rewarding, not to mention more confusing, than I’m sure the creative team wanted.

The fact that Carey’s dialogue and narration sound like every other modern comic book attempt to affect snappy millennial Twitter-speak notwithstanding, it’s just not very interesting -- and this is a supernatural murder mystery! Rowans Ruin #3 isn’t bad, it’s just entirely forgettable, even for someone who doesn’t mind cliché haunted house / slasher flick tropes.

Perkins’ art remains how it has been throughout the miniseries as a whole: expressive but uncompromisingly safe, technically sound with a few random inconsistencies, boasting one or two unexpected flourishes and incredibly detailed backgrounds within mostly predictable layouts. It looks good, but feels stiff, like Perkins is phoning it in or that the story isn’t giving him enough narrative to chew on visually.

I am sticking with this book until its end, but am thankful that said end comes with only one more issue attached. Hopefully the team can wrap it up in a package that makes Rowans Ruin more than just the sum of its parts, but I remain dubious that this will become anything other than decent-looking shelf gristle.

Score: 2/5

Rowans Ruin #3 Writer: Mike Carey Artist: Mike Perkins Colorist: Andy Troy Publisher: BOOM! Studios Price: $3.99 Release Date: 12/2/15 Format: Mini-Series; Print/Digital

Review: Oxymoron: The Loveliest Nightmare #4

I read the conclusion of another mini-series this week and it was not rewarding. It was disappointing and frankly kind of sloppy when previously it wasn’t. It was everything that Oxymoron: The Loveliest Nightmare #4 is not. Now the third issue of Oxymoron: The Loveliest Nightmare is pretty much untouchable. It was in my opinion a perfect issue from the story to the art. I didn’t expect the fourth issue to be anything like the third. It needed to stand on its own and more importantly wrap up the entire story we’ve been reading.

The Oxymoron has been grooming Mary to be his nemesis. To be his counterbalance. He’s been testing her and pushing her in ways that frankly we’ve never seen in comics. It’s not a hidden fact that the Oxymoron and Swanstown are homage to The Joker and Gotham, but there’s been no Batman. Oxymoron is basically in search of his Batman and he thinks it’s Mary.

In this issue, Mary proves him wrong in so many ways. And it’s fucking incredible.

Oxymoron---The-Loveliest-Nightmare-#4-1The problem I always seem to have when reviewing the last issue of a ComixTribe comic series, is that there’s not enough safe material to talk about. Everything is a spoiler or at least a major clue that could spoil something for someone else reading. It leaves me with nothing to talk about and unable to really pick apart the issue in order to say why it’s so damn good. The best I can do is the sentence above. It is incredible because in a way this is everything you sometimes want Batman to do to the Joker. He wouldn’t ever, but you kind of want that. You want that Dark Knight Returns moment that never seems to come.

Tyler James and John Lees nail this ending. It’s incredibly satisfying, but not boring. A lot of times when there’s a four issue mini-series the third is the spectacular part and the fourth issue is just a quick wrap up. James and Lees manage to make this fourth issue shine on its own. There’s still surprises to be had, characters to develop and violence to be traumatized by. They do a wonderful job together and have delivered four solid issues.

With the art Alex Cormack delivers as well. His work on this series has been wonderful from beginning to end. I still remember my advanced view of the first issue before the talented Jules Rivera joined the series, it was in all black and white and you could see just how much energy and creativity Cormack was putting into each page. Now with colored pages there’s a complete and total package. The final showdown is really good. Like really fucking good. There’s also an uncomfortable torture scene that Cormack manages to keep tasteful and not overpowering.

I’m honestly sad to see this series go. It’s been one of the best all year and even though another Oxymoron series is teased in the back, it’s not this one. This one has won me over in a big way and will be something that I recommend to any fan of superhero comics.

Score: 5/5

Oxymoron: The Loveliest Nightmare #4 Writers: Tyler James & John Lees Artist: Alex Cormack Colorist: Jules Rivera Publisher: ComixTribe Price: $3.99 Release Date: 12/2/15 Format: Mini-Series; Print

Review: Dragon Age: Magekiller #1

It is a bold choice to eschew an exposition or preamble to Dragon Age: Magekiller #1. Those familiar with Bioware's fantasy universe will be comfortable with the terms and concepts being thrown around. Others will have to infer. Luckily, Greg Rucka uses his characters to invite readers into a tale of Dragons and Ages by shining a spotlight on one of the world's darker corners. Not too dark though, if this first issue is any indication. Our heroes are Tessa and Marius, cohorts in a very niche subset of assassination. Marius is the experienced killer to whom Tessa defers. Tessa is the people person with a wit and irreverence that casts her as the appropriate narrator for a fantasy book. She keeps things from getting stuffy or too self-serious. You can guess by the title that our Magekillers specialize in putting down typically hard to kill magic users, for a price.

Dragon-Age---Mage-Killer-#1-1Cost quickly becomes a theme in this issue. Magic, its use, and its abuse come with a physical and social price. Marius hunts mages for his own reasons and isn't driven by money, resulting in Tessa's repeated griping. Life and freedom have inherent value, it seems. Some things have more value than money and life's protection is reward enough to Marius.

A lot of what we can ascertain about him comes through visually. His body language is stern and reserved. He's illustrated as a barely contained bundle of high-tension muscle and deep thought. In action, Marius takes the lead and dispatches targets with uncommon skill, if not ease. He's a mystery. But Tessa handles a client interview with suspicion, humor, and compassion. She's easy to figure out, at least from a first impression. And she is, for her part, the more animated and friendly of our heroes. This partnership carries the narrative quite well.

Though it should be noted that the story itself is pretty light. It's a very briskly paced setup meant to establish the nature of our protagonists. The plot is bare. The cliffhanger leading into issue #2 feels like it could've been a mid-issue plot point. Rather than being a slow burn, this issue feels like it's holding back and killing time, allowing the occasional mention of DA lore and a few character moments to hold your interest. Rucka is mostly successful in that regard.

Overall, Dragon Age: Magekillers #1 starts something interesting but stops just short of fully earning your time. I hesitantly recommend checking it out even if the continent of Thedas is your second home. My recommendation is built largely on expectation for future issues and the promise of further developments.

Score: 3/5

Dragon Age: Magekiller #1 Writer: Greg Rucka Artist: Carmen Carnero and Terry Pallot Colorist: Michael Atiyeh Publisher: Dark Horse Comics Price: $3.99 Release Date: 12/16/15 Format: Mini-Series; Print/Digital

Review: Citizen Jack #2

Electability, as a concept, is actually pretty fucked up. Having less to do with a given candidate’s core values or political platforms, it’s really just a voting criterion based on image, be it a physical presence or, these days, emotive bluster. Apparently tracing its etymology to the mid-19th century (though conceptually much older than that), the modern context of electability was brought to the American fore in 1960, when the very first televised presidential debate arguably gave the more attractive and composed John F. Kennedy a win over Richard Nixon in the elections that year. Since then, thanks to our society’s increasingly perverse obsession with televised freak shows, an even more manic media-driven electability has developed and become inextricable from the United States presidential race process, as both an indicator of how susceptible the human condition is to well-placed (if inane) marketing, and proof positive that democracy’s dick is getting ever more firmly kicked into the dirt. Exploring that terrifying idea is Citizen Jack #2, which uses the unfortunately topical farce of electability as its main thematic drive.

As failed hockey brawler / snow-blower salesman Jack Northworthy continues his ill-advised, Hell-backed bid for presidential power this issue by relying on the help (and subsequent downfall) of an old friend, we get a taste of why the American electorate could best be described as a drunken frat boy at a Tijuana Donkey show.

Citizen-Jack-#2-1Now, by the admission of its creative team, Citizen Jack #2 may not be a direct commentary about the cult of personality around the currently ongoing (and seemingly endless) presidential election - particularly the voting public’s morbid fascination with train-wreck candidates like Donald Fucking Trump - but Humphries and Patterson hit very similar beats. This is perhaps best expressed in the words of a character named Mr. Bollinger, a wealthy conservative funder to the Northworthy campaign, who refuses to pull his endowment because he, “can’t wait to see what [Jack] does next.” This is, of course, the exact reason Trump has come so terrifyingly far with his campaign.

As we watch the charmingly loathsome Jack endear himself to the public by tapping into deep reserves of relatable ineptitude and the demonic machinations of the devil Marlinspike, with whom he has made his Faustian pact for power (and who motivates his charge with very Shia LeBeouf-esque platitudes), we get an interesting look into the background of our “protagonist,” as well as insight into his surprisingly loyal morality.

In that, Humphries continues to do a great job of building this story around Jack as a compelling character with as many flaws as drives, painting a picture of an imbecile who is way out of his depth, but who strives for more in the spirit of the great American dream. As I mentioned in my review of its first issue, I love the fall of a good fool, and Jack is one of the absolute best. With punchy, easy dialogue that is as entertainingly organic as it is topical, Humphries has created a well-fleshed world that is one part Idiocracy and another part Prez, lampooning the idea of electability as a practice cultivated from the very depths of Hell, while still being a very human invention.

Patterson and Alderink’s art, meanwhile, remains a grotesquely detailed yet cartoonish collaboration that rolls with the story well, especially in the more farcical elements, like the anthropomorphic talking-head news dolphin named Cricket, the mind-bending hellscape torture room splash page and the insectoid appearance of Marlinspike.

Beneath Alderink’s various veneers, and only very rarely overwrought colors, Patterson does a good job of grounding his more mundane moments in comically expressive detail, leaving his backgrounds mostly sparse. That decision gives the issue a foreground focus, but can make some of its panels feel rushed and unfinished, with Alderink having to sometimes get creative with poppy colors.

As a fan of fun political satire, I’m still really enjoying this book. Sure, it gets a bit silly at times - demons and talking dolphins do abound (though Cricket does remind me of a “cuter” version of the non-human outsider voice in something like Quinn’s Ishmael). But it’s an interesting application, albeit a somewhat flippant one, in the discussion on electability, and I for one am more than happy to continue to #GetJacked.

Score: 4/5

Citizen Jack #2 Writer: Sam Humphries Artist: Tommy Patterson Colorist: Jon Alderink Letterer: Rachel Deering Publisher: Image Comics Price: $3.99 Release Date: 12/2/15 Format: Print/Digital

Review: Doc Savage: The Spider's Web #1

The 1930s were a perfect time for American authors with a chip on their shoulders to write about incredible heroes defending their country. It comes as no surprise that Doc Savage, one of pulp fiction’s most legendary characters, has survived from then until now. While the Bronze Man himself hasn’t lost any of his muscle or intellect, perhaps its time for him to get a modernization, or at the very least stick to beating up Nazis and skip the rest.

Dynamite has been publishing reboots of pulp characters for a while now, some of them work, some of them don’t. Doc Savage himself has had the reboot treatment as well. This latest iteration: Doc Savage: The Spider’s Web is a brand new story that according to author Chris Roberson is supposed to be one of many stand alone stories that continues where the previous Doc Savage titles left off. For someone who hasn’t read the back issues, this isn’t exactly the best starting point, without much backstory this comic will most likely leave readers wondering exactly what is going on, despite that it is labeled as a first issue. That confusion aside, if you know anything about Doc Savage it probably won’t be too difficult to pick up.

Doc Savage - The Spider's Web #1The story is fairly straight forward. The comic opens up with an earthquake, decimating a large part of a city in South America. Doc is on the scene already, helping victims get to safety, while his team back at their headquarters is trying to figure out what caused it. Doc finds a man hung by his own parachute in a tree not far from where the earthquake took place, the mystery deepens when Doc finds some type of black box device on him. He takes the box back to his headquarters where they analyze it, cue flashback to an early adventure where a similar technology was used not to trigger earthquakes but to melt human bodies...

Okay, so it’s all very pulpy, which is a good thing in theory, though the execution of the story suffers from lack of focus. Roberson tries to cram a lot into this first issue, attempting to give some backstory for new readers, trying to connect the old adventures of Doc and company with the new, all while building up to something that is supposed to keep us hooked for the coming issues. Well, it’s a lot to take in, and it doesn’t really work. The story itself is cliche and trope-ridden, which can work in a pulp revival comic such as this, but in this case the story is a little too simple. Doc Savage is a character who belongs in his era, and bringing him into the present doesn’t really work. When I read a pulp comic like this I want non-stop action, over the top thrills, and some 30s and 40s era imagery.

I always end up comparing comics like these to The Rocketeer, a perfect example of an original story that was also a perfect homage to the stories it was based on. Seeing Doc in 2015 doing the same things he was doing in 1933 seems a little weird. Roberson splits the story in two, giving us classic Doc Savage chasing down a Nazi sympathizer attempting to blow up the Hoover Dam, which is a lot of fun, and what this comic should be. It falls apart when we return to the present and that flashback is tied in to the present where it feels dated and cheesy. I’m not saying that Doc can’t exist in 2015, but if he’s going to be in our time at least make it feel like our time, the modern iteration of Doc and his team just feels dated and boring. If we’re expected to be on the edge of our seat watching an 80 year old character do the same shit he’s always done at least pull it off with style. This latest version of Doc Savage has a long way to go to fulfill its promise of pulp-revival glory.

Score: 2/5

Doc Savage: The Spider’s Web #1 Writer: Chris Roberson Artist: Cezar Razek Colorist: Dijo Lima Publisher: Dynamite Entertainment Price: $3.99 Release Date: 12/2/15 Format: Mini-Series; Print/Digital