Review: Umbral #4

Sometimes in life, you randomly pick something up, and it becomes a game changer. Now, this could apply to a great many things; a musical instrument, for example, or a nasty case of crabs. Fortunately, Umbral is situated decidedly near the former camp, in that it makes sweet comic book music ... and requires neither a strong prescription from, nor an awkward conversation with, your family practitioner. In all seriousness, I may have grabbed this fantasy-adventure book (not usually my thing) completely by chance, but Image’s Umbral has very quickly become one of my most anticipated books each month for its fantastically-spun homemade mythology, inherent wit and charm, and a pace that never lets up. Hmm, maybe it is like crabs - it’s at least as infectious.

We pick up here where we left off in issue two, with Rascal and her cycloptic gypsy smuggler companion, Shayim, running for heir lives through the cavernous home universe of the Umbral, hiding as they do a powerfully magical artifact known as the Oculus, which both humans and Umbral want to seize in their respective bids for power.

While they contend with Umbral warriors, ghost pirates and the world’s most dangerous ladder match, the undercover Umbral in the human world tighten their covert grip around the governance of Man by further infiltrating the inner circle of the royal family and ruling class, in the process putting out an APB for the Oculus.

There are so many enjoyable things about this book, that I’m almost not sure where to start. One of my favorite things about Umbral is the world building Johnston is proving himself capable of here. Those little mentions to the world’s history, myth and lore are enticing little kernels of story that are slowly beginning to crackle and bloom. Whether it’s in an off-handed comment from Shayim or Rascal on a great war that occurred, or even just a barkeep singing what is clearly an old war song, each little suggestion succeeds in expanding this universe in a pot-by-pot unveiling of what is becoming a great meal.

Johnston also does an exceptional job of fleshing out his characters further this issue, giving even the most vile amongst them solid and relatable pathos. The most standout example of this, perhaps, comes in the form of the relationship dynamic between the Umbral, which here manifests in a more familial sense. At the same time, it shows a sympathetic moment between the “monsters” in this story, as well as establishing the hint of a possible reason for their kind to be so vengeful; giving the villain of a book purpose like that is a triumph that is frustratingly not often achieved.

In fact, we get a couple new views into the many “dimensions” (in both sense of the word) of the conflict in this world, each of them feeding into the enlightening blurb on the back cover, which calls into the question the very nature of war. It’s pretty brilliant stuff and it flows beautifully well here.

Likewise to the above, Umbral enjoys a holistic voice - married together as it is in a mingled anachronistic parlance - but also because of the divergent and individualized dialogue with which Johnston arms his cast of characters. Rascal and Shayim have as great and effortless an interplay as the debuting Black Rojyr (whose crew is a very cool fusion of Pirates of the Caribbean and the Dead Men of Dunharrow from Return of the King) does with the Umbral; all of them have this humorous snarky tone, sure, but each stands out from the next, which is a rare thing these days.

The art here from Christopher Mitten continues to be a splintered and stained beast, and I can’t imagine Umbral under any other visual banner. At times shockingly touching (Umbral hugs), at others terrifying (undercover Arthir) and still others just badass (Black Rojyr’s appearance), Mitten must have been a carpenter in a past life, because he is absolutely nailing it in this book. His partner in the aesthetic, colorist Jordan Boyd, does an equally great job establishing tonally all the various goings-on in the many realms in Umbral, making the art come alive, even when the subjects are undead.

Umbral #4 is the latest great chapter in this outstanding ongoing Image series. If you’ve been complaining that there’s nothing fresh in comics, you haven’t been looking here.

Reckoning: 4/5

Scribe: Antony Johnston Illuminator: Christopher Mitten Painter: Jordan Boyd Flourisher: Thomas Mauer Printsmith: Image Comics Commencement: 2/26/14

Review: Legends of Red Sonja #4

Dynamite’s run on Red Sonja has been absolutely fantastic on so many levels. But I think that it was with the summer of 2013 releases featuring the writing talents of Gail Simone, that has placed the world’s favorite She Devil on a tear taking care of business, making friends, and as always, making a few enemies along the way too. The brand has never been better that I can remember which has helped it to spawn some one-shots (see reviews), some discounted re-releases (see review), as well as an extended title that highlights of the legend that is Red Sonja displayed through small vignettes of her exploits. Very appropriately titled, Legends of Red Sonja, the stories are just that. Told from different perspectives about their own individualized experiences with Red Sonja, these vignettes offer the reader additional insight into the cult of personality of Red Sonja. Making this an added attraction is Dynamite’s use of some the best female writers in comics today to weave these tales. It has been win win for everyone and we are now at Issue #4 of a planned five issue set.

There are three stories within this issue that feature Sonja in very different lights.  Jenny’s Story: Parrallax  Is the tale of a young barmaid who had an encounter with Red Sonja after her village was attacked and she was taken hostage. It is a straightforward reminisces of the encounter and demonstrates Sonja’s power as seen through the eyes of a grateful soul who was delivered from her captors.  She Lives Still is a story told by what could be called a magical forest entity relating his experiences with Sonja to his er… uh… daughter of sorts. The entity tells of his encounter with Sonja and his deliverance from the captivity of a witch who used his powers for her gain. The entity is grateful and desires to show his thankfulness. Let’s just say that he does and Sonja and he get to know each other a whole lot better after the rescue.  Securing both tales like bookends is the current story of a band of men searching for Red Sonja with the hopes of avenging a murder.  They are looking and gathering these tales as they venture along on the search.  All stories fit well in the parameter of the issue and the writing of Gail Simone, Mercedes Lackey, and Marjorie M. Liu though short and sweet, pack an interesting punch that is readable and not too bad in their presentations.

Hands down, I got to give Marjorie M. Liu award for best story in this issue. In She Lives Still, Liu has just a perfect blend of action, violence, hot sexiness, and even heart felt sentimentality that is impressive for a story that covers only about nine pages or so.  It hits all bases and entertains thoroughly.

The other two tales carry their own and flow well enough to make for an enjoyable read that should not be passed up for any Red Sonja fan. The legend continues and the issue more than holds up that legend.

In regard to art, I was impressed with all the stories. I have read a whole lot of Red Sonja in recent weeks even rereading the Queen of Plagues arc, and I got to say that Jack Jadson, Phil Noto, and Simon Bowland cover the lady quite well in their presentation.

I don’t know if Legends of Red Sonja is for everyone. If you are new to Red Sonja, I think I would hit the standard title first before this one. It will give you a better feel for who Red Sonja is and what she is about. For those of you well versed in the world however, Legends of Red Sonja is a must have and offers additional expansions in to the universe of this magnificent lady.

Score: 3/5

Writers: Gail Simone,  Mercedes Lackey, Marjorie M. Liu Artists: Jack Jadson, Nei Ruffino, Phil Noto Publisher: Dynamite Entertainment Price: $3.99 Release Date: 2/26/14

Review: The Manhattan Projects #18

The Manhattan Projects is a series that has become my immediate go-to for a solid book recommend, especially for those who aren’t into or haven’t experienced the true diversity of contemporary comic booking. In fact, I’ve converted no less than three non-comic book friends on the merits of its story alone, and it continues to be a great example, in my view, of the medium’s high concept and storytelling dynamism. With that said, this newest arc, which sees our motley crew of exaggerated historical scientists imprisoned at the behest of the nefarious Oppenheimer and the vicious, ear necklace-sporting General Westmoreland, has gotten decidedly stagnant.

Now, I don’t mean that nothing has happened; it definitely has. I mean, this issue alone sees a massive brawl between Westmoreland and a jacked-up pan-dimensional murderous alien beatnik, but I think the general’s meticulous “war of attrition” against the Projects has effectively worn this title to a grinding halt. Barring perhaps the last page, which ends the issue on a bit of a cliffhanger (thanks to the [SEMI-SPOILER] murder of one of the most prominent Projects), this book feels like it has become less experimental and more formulaic ... and that blows a bit.

I’m a huge fan of the voice Hickman brings to the bulk of his (especially creator-owned) work, and as I alluded to above, The Manhattan Projects is really what sold me on him as one of the industry’s most unique and fascinating writers. But this thing is in a rut from which it desperately needs to escape, and I continue to live in hope that Hickman isn’t offering this title up as a sacrifice to focus on one of his other 20 books out at the moment.

Unfortunately, given the recent delays and the lackadaisical, unhurried state of affairs with its writing, things aren’t looking good. On the other hand, that last page does add a much-needed dose of intrigue and will hopefully lead back into my favorite tangential subplot of the series in what is a much more insular war between “men.”

While I’m pretty apathetic in regard to the current banality of the writing, the art has never been better! Apart from a few oddly rushed panels early on, this book continues to be a fertile petri dish on which to watch Pitarra’s infectious art grow, and what a phenomenal evolution it has proven to be. I’ve been a big fan of his style since I randomly came across this book a little over a year ago and while he’s had some hiccups along the way, it’s easy to see that Pitarra is taking the risks visually that the story itself has, for the past few issues, eschewed.

While his figure work continues to be refreshingly grotesque, everything else here feels more crisp, with much more assertive line work and a cleaner, less-cluttered approach to texture. Much of this, perhaps, is thanks to Bellaire’s colors; a usual highlight of the book, but one that seems to this time benefit from a particularly vibrant sort of phosphorescence. The palette is bolder, brighter and even in a series with such a visual pop verve, this issue is especially remarkable.

In terms of story, this is far from the best The Manhattan Projects has to offer, at least until the last page. For that, I’d give the book an average 3/5, but the way Bellaire and Pitarra bounce off each other here should not be missed, and if nothing else, gives me hope that one of my favorite books might still have it.

Score: 4/5

Writer: Jonathan Hickman Artist: Nick Pitarra Colors: Jordie Bellaire Publisher: Image Comics Price: $3.50 Release Date: 2/26/14

Review: Wraith #4

Question? What happens when you send bad people to a bad place? The answer...Bad Things. But if you have been following Joe Hill's prequel to his best-selling novel NOS4RTU, then you know that Bad Things is pretty much the norm in this twisted tale of a place called Christmasland where children go to live out a life in which every day is Christmas. As for Christmasland's caretaker, a man/monster named Charlie Manx, well he utilizes the life force/souls of the children so that he may live. Pretty creepy stuff I must say. Pretty creepy, but all entertaining is what this tale is. It is the stuff of nightmares, taking the innocence of children and distorting them into something else entirely. You see, while at Christmasland, the kids do not age and they take on a physical form that can be described as "cutesy demonic". That's my word and I am sticking to it.

In the last issue, Charlie Manx assisted in a favor by picking up a group of escaped convicts and two prison guard hostages. He has offered them refuge at Christmasland. Issue #4 begins as the group reaches their destination and meet the children who are permanent residents. Mayhem ensues and those Bad Things mentioned earlier begin to take hold. We also get a flashback tale regarding one Chess Llewellen,  an escaped convict, but not really like the other convicts in the group. His story is one of pain and misery. Mr. Manx is an equal opportunity unleasher of vengeance however as no one is truly safe from his power.

C. P. Wilson III's art has been ghoulish and mischievous throughout. But in depicting the children of Christmasland, he dials it up a notch making for some seriously disturbing images. The images fit the writing of Hill and what we get is a devilishly good combination in a devilishly good story.

Joe Hill continues to script the story as a cat and mouse tale. Earlier, it was Manx and the children. Since Issue #2 however, it has been Manx and the criminals. All of the criminals are hardcore scary guys (minus Llewellen), but Manx's presence dwarves them all. You just don't see much future for these people as long as Manx is in control. And even if looks like he is not in control, you still get the feeling that he is in control.

Joe Hill will always receive recognition for his amazing work on Locke and Key, and deservedly so. I would offer this little mini however as an additional amazing work. The man has skills and like Charlie Manx himself, he is building on some great foundation creating masterful structure.

Score: 4/5

Creator/Writer: Joe Hill Artist: C.P. Wilson III Publisher: IDW Publishing Price: $3.99 Release Date: 2/26/14

Review: X-O Manowar #22

Following Harada’s betrayal, Livewire knows Aric’s true heroic nature and returns the armor to him. At this point I realized two amazing characteristics about this book.  First, the main antagonists of the comic (The Vine) have not appeared for several issue, yet the comic is still as interesting and engrossing as ever before.

Second, the comic raises some amazing philosophical statements.  For instance, Aric speaks with Colonel Capshaw and explains how he would handle his enemies in the past.  When he threatens her with decapitation and putting her head on a spike, X-O relents.  “This is not my time.  This is your time.  I do not know what makes a hero now.  I only know I must learn another way.”  The inclusion of lines like these show that the book is as engaging in the down time as it is in the frenetic action moments.

Robert Venditti must be commended for creating such scenes that allow readers to contemplate the nature of heroism while also supplying precisely constructed action sequences that offer equal thrills.  Plus, Venditti has made Aric a multi-dimensional with whom readers will associate because Aric, by nature, is the flawed outsider trying to find his way.

Colonel Capshaw arranges for the displaced Visigoths to settle in Nebraska.  For a moment, Aric regains peace.  But there’s a price for that peace, and Aric must pay for it with his service to the United States military.

His first mission sees X-O scuttling the alien ship he used as a trap in the “Unity” crossover.  He must do so in order to avoid the Russians attaining the tech onboard.  The question is, “Did he get there in time?”

For an issue that deals with peace, there is so much to savor in X-O #22.  For instance, the chess pieces are visibly placed to see how the next chapter of this story will unfold.  We also understand that Aric has so much to lose: namely, his love and respite, Saana.

In terms of the art, Cary Nord delivers a great panel where Capshaw commends Aric for completing a mission as though she addressed a subordinate.  Being the leader of an army himself, Aric’s grimace foreshadows the time when he will refuse the orders and not play lapdog to the commands.  So much has been conveyed from a single stare from one panel of the comic.  That’s great illustration.

X-O Manowar, a perfect synthesis of great art and well-constructed storytelling, consistently proves itself unparalleled among action comics.

Score: 5/5

Writer: Robert Venditti Artist: Cary Nord Publisher: Valiant Comics Price: $3.99 Release Date: 2/26/14

Review: Mind MGMT #19

This time, within the ever-revolving twists and turns that mark Dark Horse’s strongest and most singular book, the opposing teams of ex-Mind Management operatives (one led by the enigmatic Eraser, the other by the increasingly take-charge Meru) close in on a Berlin-based former agent, who now uses her abilities to hide within the populace as an illusionist of some renown. As the two groups vie for her affiliation and we learn more abut her in yet another great, fairly in-depth character package, it’s also revealed that the “Meru All-Stars” are a bit worse for wear, thanks to in-fighting, bouts of a depressive step-behindedness and the costly limitations of Meru’s control over her own powers. Meanwhile, the Eraser’s crew is, to put it bluntly, on-fucking-point, and poised to pounce on complete control of the Mind Management legacy.

This is an issue that feels constantly in-transit, be it in the movements of the team (astrally or through conventional means) or the catch-as-catch-can nature of the magician’s pursuit. Because of that - and thanks to the sheer amount of stories being told - issue 19 does sometimes feel harried, with the book’s usual fluidity noticeably compromised. On several pages, for example, four different plots are told simultaneously, making the entire thing feel a bit clunky, jumpy and cramped, not to mention even more frenzied than usual.

Of course, you have to be prepared for a decent amount of that going into this title - it’s a given - but here it felt like Kindt was trying to pack in too much, muddying the already mirky waters of Mind MGMT. Then again, this book is this book, and under the patronage of Matt Kindt, that which is discombobulating is most often on purpose.

As per usual, though for different reasons this time, you might want to read this book twice, just to catch absolutely everything going on in it. And then maybe go back once more for good measure. What I’m saying is, be prepared for a significant time commitment, though one that is perhaps slightly less rewarding than the other character-driven stories in issues past. Although, I did really enjoy the expansion of the relationship between Duncan and Lyme as they reminisced together about old Management missions they jointly undertook. That was nice to see.

The best part of this issue - as is true of many Kindt stories - is not necessarily what is going on in the plot itself, but rather the strange and curious things that bruise and rattle the book’s margins, and in a comic like Mind MGMT, these types of details are crucial.

In this case (and hopefully I’ll be able to explain this without too much confusion), it looks as though everything that happens with the magician is actually cut-and-pasted (in the old-school, scrapbook sense of the term) on top of the existing panels in which Meru and the gang pursue her. This all starts with a subtle, almost doorway-like tear during the illusionist’s intro and continues enticingly throughout the rest of the book.

What this seems to fill in for this issue is the supplemental text that is usually scrawled vertically along the gutters of the book, which is here conspicuously absent. Also accompanying this change are a few strange tri-colored backgrounds near the latter half of the book.

I have to admit, I still have no idea what that was about, but if nothing else, this approach (alternatively corresponding or contrasting with the color in the panels) is an accomplishment of showcasing divergent tones within the art, while still linking them together (intentionally un-seamlessly) within the narrative. As always, this is yet another uniquely noteworthy feat for Kindt’s art, which remains a keen satire of the innocent.

After I finished the confusing Mind MGMT case file which bookends the issue along with the impressively tidy recap page at its front, I felt absolutely beat. This is not an uncommon side effect of Mind MGMT (consult your local physician if symptoms persist), but this issue in particular felt dense.

Score: 4/5

Writer/Artist/Creator: Matt Kindt Publisher: Dark Horse Comics Price: $3.99 Release Date: 2/26/14

Review: Dead Body Road #3

Over here at the ye olde Comic Bastards, it’s no secret that we are big fans of Justin Jordan and his creator own work.  I wonder if it’s due to that fact that it’s so awesome. I wonder… Inside a motel room Rachel sits with a gun pointed in her face. On the other side of that gun is Cobb an ex-cop and the ex-partner of Gage. With a couple of slick moves, Rachel and Gage get control of the situation and coax some information from Cobb about how he was able to locate them. As Cobb replies with less than desirable answers he attempts to sway Rachel’s trust in Gage by telling her some of the unethical things that Gage has done in the past when the two of them were on the force.

Meanwhile, at a biker bar named the Black Devil, Mr. Lake and his associates, Quint and Kegg go recruiting for a little bit of mean muscle-- muscle in the way of a big gang of nasty bikers.

Later with the aid of Rachael, Gage meets Quint in a local strip mall and acquires some Intel about Anna. The two men fail to communicate and the conversation breaks down to a food court fist fight that spills outside into the parking lot. Before things get too far, they get really interesting.

Take a breath with this issue because it may be the only chance you get. You receive a small glimpse into Gage’s past thanks to Cobb who shares a morsel of the time that the men once shared together. It was something that was needed to add more weight into our protagonist and it helped add some layers to our resident bad-ass. Somehow, someway if there’s time in this story I would rather enjoy seeing a moment like that again.

This whole series with Matteo Scalera’s art work has been nothing short of killer. He adds so much to the pacing and style that I honestly believe that this book wouldn’t be as good as it if it wasn’t for Scalera’s work.

Basically, Justin Jordan’s Dead Body Road is easily one of the most entertaining comic books out right now. Its blend of action and sassy dialog is simply becoming a trade mark of Jordan’s comic work.  So just like the issues before it, this is simply a must buy.

Score: 4/5

Writer: Justin Jordan Artist: Matteo Scalera Colorist: Moreno Dinisio Publisher: Image/Skybound Entertainment Price: $2.99 Release Date: 2/26/14

Review: Spaced Out #1

Like any natural awesome human being, I have been into space for quite some time. I can’t say that I understand it all, but who can. Spaced Out was the perfect chance to get a hold of some space all the while following around a chimpanzee and his nutty sidekick. I always love a good dynamic duo in a comic, and this comic does that perfectly. We have Master Bops, the monkey, who doesn't stop. And then his little sidekick, which I don’t exactly know what this guy is, but he goes by Max. All I do know is that Max rocks a mustache with the best of ‘em. So pretty much these two knuckleheads enter Tiklopis. This place is full of alien creatures, but I don’t think they consider themselves aliens. More like Bops and Max are the aliens. These two get through security, and the place goes nuts in order to find these guys. Overlord Krush, what a great name, is the man in charge. Seems like he rules with an iron fist. Gov. Marco, whose sector Bops happens to be in, is in charge of the hunt. He seems apprehensive about following Overlord Krush’s orders. So he may be one to watch throughout the series.

With all this serious space talk going on you would think this comic is all stern, but actually this comic has lots of fun with space. First off, the art tells you how fun this comic is going to be right away. The colors are bright and draw the reader in. I actually found myself stopping at certain points to absorb each element of space. The characters are all new to me. I love diving into new worlds and seeing the characters that come from the creators mind. That is why I ultimately loved this first issue. I think my favorite character was Max though. He was too cute to pass up. The cops are an interesting group as well.

Space Out has lots of elements happening in their first issue. It felt a tad overwhelming.  I would recommend this fun read to all ages, but more of a read-along with parents for the younger audience. Some things may get over the kids’ heads, but the fun dialogue will keep them interested.

All in all, I liked this comic, but it didn’t stick out in my mind after all my reading this week. Usually that is how I can tell if something is going to stick. For me, it was a miscommunication about the comic that lead to a less than normal understanding of what was actually happening in it. I don’t know if I just needed to pay more attention, but either way, it lacked that wow factor I look for in a first issue. What I did love about the comic was the setting of it. I hope the plot and lingo can join together for a more memorable read the second time around.

Score: 3/5

Writer: Brent Sprecher Artist: Ramon Salas Publisher: Blue Water Comics Price: $3.99 Release Date: 2/26/14

Review: King Conan - The Conqueror #1

There is a review quote at the beginning of this comic that states… “This is Conan the way he was meant to be, the character we fell in love with.” And when you look at the cover and throughout the issue, the quote is right… At least from the art perspective.  These pictures and renditions were exactly how I remember all the great Conan of old, whether I read a Robert E. Howard book or thumbed through some of John Busema’s classic renderings in the 1970s. These were the pages that I would find. I like the art here and just the pictures alone are great, story unread. But this is a known tale. In fact, it is a part of the adaptation of the "Hour of the Dragon" story by Howard himself; one of his bests. So, all the things that are good about Conan are located right here in this comic. It should be marvelous. Right? Right?

I have enjoyed Conan throughout my life and am well adept at his continuum and rise to eventually rule as a king. I must admit that I never read much from that lofty place as I typically followed the up and coming Conan over the being there and maintaining Conan. It just felt weird to me to read, probably more from inexperience than anything else I would say.

Within this issue, Conan is in the port city of Messantia. He has already been deposed by rivals and is now in search for an old relic that may hold the key to his re-ascent. Of course, he is not the only one searching and there is trouble a plenty waiting for him as he works to regain his power.

The story itself adapted from Howard’s work by Timothy Truman is written well enough. But it never really captured my imagination like I was hoping. It wasn't terrible by any means of the word. But it wasn't as action packed as I would have hoped either. I still give it high enough marks that you should give it a chance as future issues promise to become quite intense and satisfying. The potential is there and this story can be exceptional I believe.

With Tomas Giorello’s art….Incredible. His style is perfectly suited for this type of story and as I mentioned earlier, I could look at just the art alone and be wowed. I think these artistic impressions would have made Robert E. Howard quite pleased.

This story arc has everything working in its favor. It has a well-known character. It is based from a popular (maybe one of the most popular) stories from Robert E. Howard himself. It has the backing of Dark Horse Comics, it has capable writing, and it has phenomenal art. Everything is there. It just hasn’t quite fallen into place as of yet I am afraid. I am looking forward to seeing where it will go though.

Score: 3/5

Writer: Timothy Truman Artist: Tomas Giorello Publisher: Dark Horse Comics Price: $3.50 Release Date: 2/26/14

Review: Vandroid #1

The high concept behind Vandroid is its comic adaptation of a lost 1980s sci-fi B-movie script in the same vein as Cyborg Cop or ... uh ... Cyborg Cop II, and that’s exactly what drew me to this title in the first place. The book’s trailer, which is comprised of “found footage” from the original, nonexistent movie and was supposedly rescued from a studio fire, was produced by writer/co-writer Tommy Lee Edwards and is a fun way to spend 30 seconds or so. You can check it out HERE, and tell me your interest isn’t immediately piqued. Indeed, like most of our ilk, I’m a big fan of shlock, especially of the cybernetic 1980s variety and when vetted through terrible special effects and laughable dialogue. Needless to say, I was all about jumping into the back of this unmarked Vandroid when Dark Horse announced it in the virgin days of NYCC 2013. However, is this attempt a successful and loving lampoon of a bygone era, or just a faulty parody of itself?

Set in 1984, the story behind Vandroid is, as you might expect, a pretty darn simple. Smarmy entrepreneur Taylor Grey and his team of science ... people are tasked with the unenviable job of creating the world’s first artificial intelligence, which, right on schedule, immediately kills most of them right after it is turned on. Standard.

Now out of his lucrative research contract, Taylor finagles a back-room deal for funding with a shady cowboy and secures the engineering assistance of his one-time colleague and now drugged-out loser, Chuck Carducci, who found fame years prior as a popular van customizer in the 1970s. Because that was a thing, apparently.

From there, you could probably write the rest of the book yourself if you wanted to; it’s that predictable. Let’s just say things go wrong, people die, Jheri curls and boobs abound, and we’re left with a blossoming case of the Terminators. Even though all that probably sounds pretty great to you (hell, in print, it does to me, too), this book is missing something ... that something is, for lack of a better phrase, a sense of humor.

In my view, the whole point of projects like this is to have a bit of fun, but Vandroid feels like it is oddly taking itself too seriously, forcing dialogue that isn’t just dated and clichéd, but clunky and uninteresting ... and not in the “so bad it’s good” kind of way, either. In so doing, it reproduces only the elements that make 80s action flicks like this so unwatchable, rather than extrapolating on the cult kitsch that makes them addictive.

I don’t hasten to compare the two, but if you check out my reviews of Dan Boultwood’s fantastic Titan book It Came!, you’ll see that I tout it as a great example of how to do fake adaptation, mostly because its creator has such a balls-out blast playing within the cinematic construct of that time period. Annoyingly for a book I was so looking forward to reading, Vandroid doesn’t do any of that and is content with just being a rehash of your classic “crazed android” story, propped up tenuously by tepid references to 80s culture. In short, this thing is direct-to-video for all the wrong reasons.

The art from McDaid is functional, and does enjoy brief flourishes in a few scenes which very faintly echo a Francavilla page (thanks in large part to colors from Melissa Edwards), but without the same unorthodox layouts or visual command. In a way ironically, I also have a problem with the cars in Vandroid, which are almost as rushed as something Doyle might produce in their under-wrought rendering. Otherwise, though, the visual direction was decent enough and for me was the best part of the book in general.

I was really looking forward to Dark Horse’s Vandroid, and wanted so badly to enjoy what I thought was going to be an entertaining period romp about cyborgs in the 80s, but this was not that. Maybe it’s my fault for levying too much expectation on it before reading it, but this is both my first and last ride-along with this story. Much like a generation-one android, it had a lot of machinery, but no heart.

Score: 2/5

Writers: Tommy Lee Edwards & Noah Smith Artist: Dan McDaid Colorist: Melissa Edwards Publisher: Dark Horse Comics Price: $3.99 Release Date: 2/26/14

Review: Chew #40

Reading comics are for enjoyment for most of us that's why they are out there. This one has my attention again. I read it twice, that’s right twice, to get the full experience and so I didn’t miss anything. I enjoyed every minute of it. After eating a psychedelic plant cooked in a psychedelic sauce, you don’t want to know what it’s made from; Tony meets up with Toni on planet Atlilis-738. After explaining that she would observe this planet from her post in the Amazon, one of the other posts assigned to observe as well, saw something strange. There was a fiery red script across the atmosphere that then disappeared. There was another sighting later on, but BOOM the planet was gone.

Before we could find out more John interrupts wondering why Tony was not answering his phone. John takes one look at Tony and asks if he’s stoned, Tony say he is super fucking stoned but that Toni says' he's okay to help him. As they bolt out the door John takes a bite of the concoction and they are on their way. They are off to a bust. The bust involves Branston Armitage IV who made a pickle so sour that it’s deadly and now they have to shut him down. All he was doing was trying to improve his great-grandfather's recipe. Tony and John reach their destination and after their case file attacks them they go in for the capture. They fight through the lunar security squad, the sheep brigade and the pillow platoon. They find out they are in the wrong place, but something is still going on here as a chicken feather is found.

This story is just great and weird and fun at the same time. It progresses well from the last issue and gets you right into the heart of the action. The creativity behind the whole story and the characters is just amazing and really what’s not to love? Death by a pickle that is so sour and delicious what a great idea.

What really brings the story alive is the art. Aside from seeing Guillory draw an alien planet, he shows everything Tony is going thru while trippin’ and the colors are vibrant and alive. It also adds to the humor that goes with the story. I wish I could describe it but I can’t do it justice.

Pick up this book; sure it’s at the end of the story arc but you’ll get on the train and ready for the next one. If anything you can at least enjoy the humor, art and fun of this issue. Its pure entertainment and isn’t that why we read comics anyway.

Score: 4/5

Writer/Letter: John Layman Artist/Colorist: Rob Guillory Publisher: Image Comics Price: $3.50 Release Date: 2/26/14

Review: Captain Midnight #8

I have really been into Dark Horse Comics' commitment to superheroes that they have done with Project Black Sky. It has been quite good. And as they add more titles to it, this world continues to expand, making it all the better.  Of course, their first submission to this commitment is still the best. In Captain Midnight, a classic hero from the 1940s has been literally brought back from the past to deal with threats of the present. The first seven issues and Free Comic Book Day offerings of this title  have been filled with masterful storytelling, excellent art that adds a boldness to the characters, and a continuum that gains momentum with each passing issue. Issue eight continues in this vein and adds additional meaning to the title as the reunion with Jim Albright's past love finally occurs. What starts as general chit-chat however, quickly becomes the story of what happened to Chuck, Captain Midnight's sidekick and best friend. Details are provided with an answer given that the Captain just cannot accept. It affects his psyche and gives us the readers some insight on how Albright views his friends, adding another piece to the puzzle related to why things are the way they are. After this issue, Captain Midnight is ready to throw caution to the wind and take the battle to Fury Shark herself. Consequences be damned.

Joshua Williamson has been writing some top-notch scripts with this title that resemble the flow of an old serial action story. That would've been entertaining enough, but an additional step is taken that really fleshes out the characters and their motivations nicely. Williamson is a top writer and it is fully displayed within these pages.

Frenando Dagnino has taken the artwork of Captain Midnight and he has managed to display an old war movie feeling of stoicism while adding present day super looks to the characters making for a sensational read. With this particular issue, Dagnino's renderings really brought out the story, and I believe it is helping to prepare us for the next installments that Project Black Sky has to offer in the coming months.

If you are not following Captain Midnight or Project Black Sky, now is a perfect time to climb on board. Things are preparing to get active and you won't want to miss any of the action or excitement that promises to be delivered in coming issues.

Score: 4/5

Writer: Joshua Williamson Artist: Fernando Dagnino Publisher: Dark Horse Comics Price: $3.99 Release Date: 2/26/14

Review: Sheltered #7

At this point in Sheltered, I wish they would do a miniseries called Everybody Hates Curt.  It would just consist of him cursing one of the characters out and then they would punch Curt in the face (just like we’ll see Lucas do this issue).  I hate everything about him, from his stupid red oversized glasses to his unnecessary foul and ignorant mouth.  The reason why I’ve started this off with a bit of a rant is because we find out this issue that Curt shot first.  If you follow Image’s solicitations or look at the previews, you pretty much had this figured out, but Lucas and Curt get into it this issue when Lucas tells Curt to do something he doesn’t want to.  Now, Curt is screwing up Lucas’s plan even more by shooting at Travis, Nathan, and Cliff last issue.  A good amount of this issue is spent on chasing down Cliff, the only surviving outsider at this point. At the beginning I was very happy to see the focus back on Vic and Hailey, as we haven’t seen them focused on in a few issues.  Although she seems absolutely crazy, I find her as the only sane person in all of Safe Haven.  Vic and Hailey answer the knocks on their door and go up to find Mitch and Tab.  Victoria is holding a gun, and is still furious because Mitch (Hailey’s brother) is one of the people responsible for her dad’s death.  Mitch tries to explain that Lucas has gone too far (to which Hailey replies, “No shit Sherlock.”).  Vic says she is tired of hiding and wants to end this once and for all.  She also realizes how brainwashed everyone is because Mitch keeps saying they “had” to kill their parents, but Victoria doesn’t buy it at all and calls him out on it.

Lucas realizes how dire the situation is, and if Cliff escapes to a phone and calls the cops, they’re all done for.  He sends four kids off into the woods to chase him (keep in mind that it’s in the dead of winter, so there’s plenty of snow on the ground to slow Cliff and everyone else up) and hunt him down.  This is where we learn that Lucas told everyone not to shoot at the truck that came in to deliver panels, he even remembers his dad mentioning that he had ordered the solar panels.  He lets Curt know that if Cliff escapes and makes it to a phone or house that Lucas himself will kill Curt before anyone else gets a chance to.  One last major point I’d like to mention is when Lucas orders Mitch to burn the bodies of Travis and Nathan, he finds something that could tip the odds in his (along with Vic’s, Hailey’s and Tab’s) favor.

As always, I really enjoyed the art and again, it shines for me in character’s emotions.  The one panel that stuck out to me the most is where we see Lucas kind of staring into the night, and it looks like his eyes are tearing up a bit.  That picture speaks a thousand words, as we finally see him realize that he’s not always right and certainly not in control of everything.  Perhaps he even misses his family.  Watching Cliff try to escape through the woods was very intense as well.  I almost laughed when Victoria replies to Mitch about what Lucas is doing, the mocking snarl she has on her face was hilarious.  The only critique I have on the whole book is that, at least to me, Victoria’s face looked different on different pages.  I’m not talking about expression because that’s obvious to change and is portrayed extremely well, but she almost looks like a different person on a few different occasions.  I’ve had the same problem with Mike Norton’s artwork in Revival, sometimes I can’t tell Em apart from Dana due to their faces.  Other than that minute detail, this book continues to surprise, thrill and lets us know that sometimes the biggest enemy in the impending apocalypse is not a volcano or an earthquake, but man himself.

Score: 5/5

Writer: Ed Brisson Artist: Johnnie Christmas Publisher: Image Comics Price: $2.99 Release Date: 2/26/14

Review: D4VE #3

“What, are you going to jerk the aliens off to death?” These are the words of a father to his son… his son that is a mail order robot that has only been in his life for a day. It’s also one of the reasons that you should be reading MonkeyBrain Comics’ D4VE.

If we rewind for a moment and go back in time comic books were once referred to as funny books. It’s a term that until recent years was a derogatory reference to the medium most commonly used by crotchety old men. “Why you reading them damn funny books still?” and other such phrases were spouted as it was clear that the aging adult had no concept of what a comic book was other than that it was supposed to be fun or funny as the name implied. What the hell happened to all these funny books?

There’s no arguing that the bronze/modern age of comics has brought about a much darker tone to the medium of comics. Perhaps it was the repressed nature of the industry due to the Comic Code and everything leading up to its arrive, but suddenly comics grew the fuck up and stopped being funny.

The strange thing is, when you look at modern comics you notice so many genres represented in the medium and yet comedies are few and far between. You can’t turn on a TV and watch primetime programing without seeing half a dozen comedies (or what passes as one), but with comics you can go months and months without a laugh. It’s a shame, but that’s why D4VE is so incredible. D4VE is the perfect balance of humor, action and character development; it’s what all good comedies are… complex.

This issue starts off with 54LLY at her sister T1N4’s house. They’re catching up on the news of the aliens that have landed and the world is viewing them as peaceful. As the reader we know that something is up with them, but the robo-world has become much like our own… lazy and complacent. This is the same society that went to the ends of the universe to wipe out all other life forms and now they’re peachy keen to have alien visitors. Well not if D4VE has anything to say about it.

As D4VE preps his old guns for the alien-jamboree, 5COTTY wants to join forces with him and kick alien ass as well. Before they begin though D4VE has to head into work to get something and while we don’t see what it is, we do learn what the super important project that D4VE was put on… stabilizing the earth’s core!

The second issue of this series delivered a ton of laughs and while there weren’t as many in this issue, each one is quality when it happens. Overall the humor of this series is one of the huge appeals and successes. With that said writer Ryan Ferrier doesn’t let the humor get in the way of telling a great story. Without the backdrop of events the comedy wouldn’t be as impactful. Ferrier is still telling a serious story it just so happens to have humor to it. As sad as it would be, you could remove the comedy and still have a story that makes sense and is interesting, which is the true sign of any great comedy.

This story is a bit (byte?) generational. To truly get the jokes and references you need to be old enough to understand what “going to the top rope” means (or just a wrestling fan) and then also young enough to get 404’ing. That’s not to say that everyone can’t enjoy it, it’s just that if you’re closer in age to Ferrier you’re likely to enjoy it more.

While this series continues to be impressive, Valentin Ramon is more impressive. How he’s able to keep up with his level of quality is insane. The consistency of each issue keeps this story all together. Ramon’s wonderful character designs mixed with the human features and body language he adds to the characters is fantastic. In one scene we see D4VE’s boss coming down the hallway to D4VE’s office to confront him and even though the character lacks any facial features you still get the sense of the anger and frustration that the character has. Ramon’s artwork is so deep that the reader can’t help but project emotions on these characters.

There is absolutely no reason you shouldn’t be reading D4VE. For ninety-nine cents you get eighteen pages of story. If ever there was a word for “value” it’s D4VE.

Score: 5/5

Writer: Ryan Ferrier Artist: Valentin Roman Publisher: MonkeyBrain Comics Price: $.99 Release Date: 2/26/14

Review: Jack Hammer #2

Obviously when I saw the cover for this issue, I asked “what the hell is going on here?” Some nasty wolf slash mutant is behind Jack. Then my second thought was “damn this is about to get real good.” Jack Hammer has hit hard with issues 1 and 2. He lives in a world where superhumans are among us. Action Lab is definitely taking a new approach on the detective comic. Jack, an under radar detective, solves more than just your average case. You can’t help but get hooked into the superpower aspect of it all. Each issue jumps off base with the first page. Oh and I did mention that Jack himself is a former hero. He understands the ins and outs better than anybody. Last issue, Jack discovers Eddie Newman’s body... dead. He is suspicious that superhumans have done this deed and now wants to solve the case. In doing so, he gets caught up in a double cross and now faces two choices: Either solve the case of Eddie Newman, a man who died all because of superhumans, and join some sort bad guy gang or leave and possibility be torn to shreds by our friendly little mutt. My choice would be to avoid the shreds of Fang and move on. But at last, Charlie, Jack’s cop friend, has come to save the day. Now it is a matter of solving two cases. The gang and the murder of Newmen. Jack doesn’t seem to have many friends, but Charlie is a good one. Although Jack refuses to call him his friends. The two have a long history I am sure.

We see Jack go all around town trying to find information. What I love about this comic is that there really isn’t the big action scenes, but the issue feels intense through the whole read. I don’t need huge explosions or massive battles. Just a good story with some mystery will keep me check. We only get a tad bit mentioned of Technotrends Co. These are the guys hired Jack in the first place to find Newman who had gone missing. This company has way more to do with the whole situation than any of us know. I am actually quite curious myself. I can’t decide if Fang and his gang, including Howizter, are playing a Magneto and just want superhumans to rise against the rest, or what the deal is. We also don’t have a ton information on their leader. He, for right now, lurks in the shadows. Seems like a normal guy, but then again so does Jack. I wonder why Jack doesn’t suspect this company, especially the way they treated him last issue. Although maybe Jack just likes cold hard evidence and not gut feelings. Could just be gas.

As you can see the comic has a lot of questions, but honestly the most interesting question I want to ask is Jack’s story. This guy most likely has the most difficult story of all to tell. You don’t get any insight into his past, so maybe we will never know. I hope that isn’t the case. The only thing we know is that Jack was a superhero and now he isn’t. He also has tons of connections which could come from him being a private investigator, but I think there is more to the story. As for now, I am totally on board with this comic. Action Lab has done it again and brought out an awesome series.

Score: 4/5

Writer: Brandon Barrows Artist: Ionic Publisher: Action Lab Entertainment Price: $2.99 Release Date: 2/26/14

Review: Bloodshot and H.A.R.D. Corps #0

Valiant's zero issues always hold some treasure to the past that enhances the series or answers a question you may have. The history of the H.A.R.D. Corps is vast and filled with turmoil. What grab’s your attention is the characters that develop the program and not the actual soldiers. HARD Corps started with the Vietnam War giving soldiers special abilities like fire and shock with the help of brain implants and special equipment. The soldiers that were picked had a timeline on their life and were happy to do because it may extend or better their life even for a few years. The first gen soldiers were only predicted to survive at most 2 years but the furthest one made five years. There is a heavy price for being part of the Corps; you start losing your mind and functions of your body because it may extend you or better your life but also takes it from you. Arthur the doctor behind installing this project is realizing this. He is trying to find a better way for the Soldiers to live and not feel the effects of the implants. After the first gen passes Arthur and Prescott, the head of Project Rising Spirit, start butting heads on what is truly successful and not.

The research gets even more advanced and the life expectancy extends further with more time, but nothing can be done with the loss of mind and the effect of the implants. The other issue that is arising is the control of participants. This becomes very prevalent when the compound is attacked by two member of the Corps because promises were broken or requests were not met.  Prescott ensures the best way to have control is have leverage with the participants so they can never gain control, they are weapons and replaceable. Arthur’s solution is more interaction with Lifeline so trust and relation can build so the participant doesn't go AWOL or ape shit.

New improvements happen over time and Prescott is getting asked to step down and thanks Arthur for all his hard work but there is one more mission at hand. Tracker has gone rogue and needs to be taken out. Some new help has been furnished to assist Major Palmer for this mission.

Valiant delivers another great title. The back story of the H.A.R.D. corps is great. It actually brings out the humanity of the project compared to the hardcore weapons side. I also like that it focuses on Arthur and Prescott vs the actual soldiers. It was interesting to see Arthur making these “weapons” but trying to keep their humanity intact. Because of this you get some great reactions after Prescott plays his mind games with them.  It’s predictable on why HARD corps was shut down.  The issue was great but it also didn’t draw you in. It was like reading history. I love history and you can learn from it but I also want action for the now. As usual the art is great and shows off everything well. You can feel what the soldiers are going through and read their expressions well. The power are portrayed nicely too with the feel of fire, shock and the dangers of radiation.

I recommend this book on the account that you want more history to the H.A.R.D. corps. It isn’t a necessary issue but Valiant does have a way to put hidden nuggets in the zero issues that comes to flourish later on.

Score: 3/5

Writer: Christos Gage and Joshua Dysart Artists: Valentine De Landro, Joseph Cooper with John Livesay, ChrisCross with Victor Loazaba Publisher: Valiant Comics Price: $3.99 Release Date: 2/26/14

Review: Hacktivist #2 (of 4)

Nate and Ed, billionaires from their social networking site, YourLife, use their computing abilities to effect change on the global political scale.  Under the hacker guise sve_Urs3lf, the duo liberate the oppressed by opening communication channels that tyrannical régimes shut down. At the close of the last issue, a US government agent offered the pair a contract that would exonerate them from criminal charges (namely treason) in return for their cooperation.  Nate and Ed, however, are not the kind to be suckered in by a government deal.

In issue 2, the billionaires concede to the Agent Ori’s offer.  Ed, reluctant and distant, puts his faith in Nate to make the right decision.  The US Government allows the duo to continue with their operations in Tunisia.

A brief but very deliberate aside explores the nature Nate and Ed’s friendship.  Audiences see why the two work so well together, and we understand Ed’s brilliance and altruistic motives.  Set atop the Golden Gate Bridge, the scene also plays up to the billionaire lifestyle we would expect from such eccentric and powerful gentlemen.

When the pair successfully renders Tunisia’s power grid inoperable and effect their “social engineering” to remove the existing government in a bloodless coup, the US Government reveals it wanted to negotiate with the existing regime while keeping them in power.  This doesn’t bode well with Ed, and we see that he suspected this course of action.

With the government’s true intention revealed, Ed engineers an escape that sees the servers melted, the company’s money liquidated, and Ed’s disappearance to Tunisia.  Nate is left to handle the aftermath and pick up the pieces after Ed’s actions.  But could this all be part of the plan, too?

There are many strengths to this comic, and I will start with the most obvious: the writing.  The creative team built a thriller that mingles plausible scenarios that mirror current events with detailed characters who are unique but not at all mundane.  When Nate presses Ed in a heated moment and asks the genius if he’s done with his rant, Ed replies, “I’m paused.”  The line defines Ed as mechanical and cold, yet the aforementioned moment on top of The Golden Gate Bridge revealed the character to be very concerned for the welfare of the world because of his childhood experiences.  Ed’s genius also foreshadows his ability to plot, plan, and recognize patterns.  I feel this will pay off in the climax in a moment that will show that he had a plan in operation all along.  All I can say in anticipation of that moment is “Cool.”

Multi-dimension characters are but only one aspect that make Hacktivist a gripping read.   The utilization of smart ideas within a logical plot framework never pull the reader out of the suspension of disbelief.  The notion of cutting the power on the Tunisian government then initiating a free-press movement through printed media sounds like an operation I may have read about in a history book, not a comic book.  In addition, Moore’s Law and social engineering are keenly applied to the workings of the story.

To and Herring deliver detailed and well-illustrated artwork to being the story to a visual level.  My one gripe was that Agent Brynn Ori looked a little too good looking to be true.  With the popular image of the Black Widow from Marvel comics, the beautiful woman/dangerous spy is starting to feel a little cliché.  Her double cross on the two felt somewhat predictable, and she needed a villainous black moustache to twist.

Hacktivist gives readers the thrill of an espionage novel and the spectacle of a great character study; it’s the closest comic book readers can come to a modern version of a Shakespearean History.

Score: 5/5

Creator: Alyssa Milano Writers: Jackson Lanzing & Collin Kelly Artists: Marcus To Colorist: Ian Herring Publisher: Boom/Archaia – Black Label Price: $3.99 Release Date: 2/26/14

Review: Pariah #1

This was an entertaining issue, but it left me with concerns. Some of which I will address later on in the review and will definitely be considered spoilerish in nature. Overall though the issue was enjoyable and I definitely want to go back and read the first volume because of this issue. That is because this is technically the second volume of Aron Warner’s Pariah, the first volume having been released on the last day of last year (12/31/13). To get your first question out-of-the-way, no you do not have to have read the first volume to know or understand what is going on in this story. Sure there are some questions, but I didn’t find that I had any more or less after reading any other first issue so don’t be intimidated because of that.

The issue jumps right into a situation on an expired space station. We find teenagers, just normal looking teenagers wearing street clothes and looking more like they belong in high school than on a space station. They’re a group of Vitros, kids that have been genetically experimented on and the results are altered brain function. We don’t know the extent of this yet but it’s clear that most of them are smart… scary smart.

With the current situation of the space station not being prepared for their survival and basically a casket orbiting earth, the group is unhappy at the moment to say the least. A dude by the name of Hyde has taken the fall for the problems and his pseudo leadership has been stripped from him.

As we take this all in the story is narrated by Herman Toulane. Like most people his thoughts are well guarded as his narration rarely resembles what he speaks or the emotions (or lack of them) that he wears on his face. Herman walks us through what makes him different from other Virtros; why they (the other Virtos) were being turned in by family or captured while on the run, Herman turned himself in because he didn’t want to be at his home anymore. At first it was a blessing to be with others Virtros and that being together should have united them… but it didn’t. Now he’s not sure which is worse, his old home or his space casket.

The story continues and things get even worse for our space jettisoned Vitros as they begin to re-enter the earth’s atmosphere at a rate and speed that will cook them alive. It’s up to Herman and his friend to save the ship… at least for now.

Here’s where the SPOILER comes into play. I liked this book a lot, but I think my favorite character may have just been killed. My understanding of the first volume is that the story jumps from character to character trading off the narration with each jump. That means that Herman wasn’t likely to be narrating the next issue, but damn… now he’s gone anyway.

Aron Warner and Philip Gelatt do a wonderful job with Herman’s narration; he talks very intelligently, but his thoughts are of a teenager and that made him very relatable. His thoughts on his home life is I’m sure relatable to a lot of people, but more so I think is dealing with the disappointment from a group of friends.

Aside from Herman’s narration, Warner and Gelatt keep a fast paced story going. It’s not Apollo 13 intense, but it’s up there. Really what keeps it from being too frantic is Herman. Even without the knowledge of the first volume this issue is approachable and catches the reader up on the world while working through the problem at hand.

The star of the show for me was Brett Weldele’s art and lettering. The art and lettering are very reminiscent of Ben Templesmith’s work; whereas Templesmith tends to exaggerate portions and make ugly characters, Weldele keeps his character looking realistic and intentionally average looking. Really if you changed the stylized coloring this could look like a more traditional comic book, but that would spoil what makes it visually interesting. The coloring gives it a distinct look making it very memorable. The lettering also plays a key part of the story as the word bubbles are in all white and black and the narration is in all black and white. It comes across as an intentional contrasts which again shows that people’s thoughts and actual spoken words are different.

I’m definitely curious for more of this series. I have plenty of time to check out the first volume in the meantime, but I really hope that the series manages to present a new character for me to like. Herman may not have been an outgoing, outspoken character, but his narration was honest and relatable. If you’re looking for a teen drama that’s not quite the X-Men, but has strong elements inspired by it, then look no further than Pariah.

Score: 4/5

Writers: Aron Warner and Philip Gelatt Artist: Brett Weldele Publisher: Dark Horse Comics Price: $3.99 Release Date: 2/26/14

Group Review: Tomb Raider #1

Each of the participating writers/reviews of Comic Bastards will give the issue a score of: Buy, Borrow or Pass along with a short reason for the score. Here’s a blurb about the issue from Dark Horse Comics before we begin: Superstar writer Gail Simone picks up Lara Croft’s story where the smash hit Tomb Raider game left off—in a new ongoing comics series! Following the game acclaimed for its bold and sophisticated new vision, this series launches Lara Croft on the formative adventures that will change her life forever!

Adam: BUY

If it weren’t for The Last of Us, Tomb Raider would have been my favorite video game released last year, so I’m trying not to be biased in this review.  That said this is an ongoing series that is a continuation of the game so that makes it easier just to not base my review off the game.  The story itself was great, and I can’t wait to see where it takes us.  I was definitely drawn in by the fact that Lara sees the dead versions of Grim, Alex, and Roth in her dreams and that they want her to stay with them, forever.  Roth also mentions that they’re all coming back for her, so I’m interested to see if we get to see more of Lara’s nightmares and see who’s in them.  It definitely takes into Lara’s psyche and emotions about what happened on Yamatai.  Weird things are going on with a few of the Endurance crew survivors-in this issue we see Sam and mainly Jonah.  What happened at the end with Jonah was extremely bizarre and I can’t wait to read next month’s issue.  If I took anything away from the game it’s that nothing is always what it seems, so this series should definitely be worth checking out and I hope it will hold me over until the next game.

The first thing I noticed about the art is how beautiful the environments look.  The coloring is phenomenal; right off the bat we see Lara in a forest running away from some unnamed enemies who are shooting at her.  But that first panel we see some beams of light bleeding through the trees on a mostly overcast day.  The art just really caught my eye in the settings and surroundings more so than the characters, although the artist did a good job capturing all of their likenesses for the comic.  It should also be noted that throughout the book the art makes you feel like you’re right there with Lara, whether she’s using her trusty pickaxe to latch onto a plane suspended hundreds of feet in the air over certain death, or being swept up in a mysterious tsunami inside Jonah’s trailer park home.  I was glad to see some of the characters and similarities from the game, but even if you haven’t played it and enjoy action/adventure with a side of some supernatural happenings, this comic is for you.

Kimberly: BUY

Seeing that Tomb Raider was up to review made me feel all nostalgic. As a kid I wanted to be Lara Croft; I’d clumsily jump off the furniture trying to imitate her when she’s searching for the “triangle of light.” So, I guess you could say I had pretty high expectations for this issue

Usually, I expect first issues to be a little slow but I was totally engrossed by the fluidity of the action scenes. I was also expecting it to be a little more eerie but that’s alright I think we are headed in the right direction for that later in the series.  It was a solid first issue, it was entertaining, organized and overall pretty impressive but I can’t say I’m in love with it. Maybe, the characters weren’t quite compelling enough. I guess I didn’t feel that thrill either; usually, there’s something about Tomb Raider’s escapades that makes my pulse race but I didn’t get that this time. I do think that the issue was good but I think it’s missing something. I’d still give it a “buy” in hopes of improvement for the next issue.

James: BUY

I have never been a huge fan of the Tomb Raider world, but I have slowly begun to delve into it some as my son is pretty devout over everything Lara. Knowing that Gail Simone was involved, I thought, "what the Hell". I would check it out. I know very little of the world, but in reading this first issue of the Season of the Witch story arc, I found that someone like me could actually understand what was happening, not to mention, I believe that there may actually be a little bit of human qualities in Ms. Croft that look to make this title sensational down the road.

One of my big likes of Gail Simone's writing is that she is good at adding a human element to anything. She is not afraid to make legendary characters make mistakes, feel pain, and even experience fear as they go about their day-to-day lives of ass-kickory. In Croft, she does the same demonstrating her as a person who is loyal to friends, who experiences nightmares, and who even might just have some trepidation in her actions based on past events. Even so, Simone writes Croft as a woman of courage in spite of any fear she may have.

This storyline begins after a horrible expedition gone wrong in which people were killed and the survivors are racked with posttraumatic stress, to include Lara herself. She receives a contact from a member of the expedition and she ventures to the last place in the world that she thought she would find him. From there, things get a little freaky, but are done in a way to capture your attention and make you thirst for more.

I found Nicolas Daniel Selma's art to be strong and detailed, really doing a great job of capturing facial expressions and allowing for good detail. Using Michael Atiyeh for coloring was a smart move too as he makes the pages really pop here with tones of relaxation as well as intensity. The whole gambit is here and this story promises to be a very good one starting here with the first issue.

Dustin: BUY

I’m surprised I liked this issue for a couple of reasons. The first being that I’ve never been a huge fan of Gail Simone’s writing; it’s always been hit or miss with me when it comes to her DC stuff, but I’m thinking it’s just her DC stuff. It kind of makes you wonder if it’s editorial as I’ve now enjoyed her writing at Dark Horse and Dynamite. So there’s that.

The second reason I was surprised is that usually any story set right after a video game is shit. The reason being that the video game company obviously wants to be the one to tackle the next chapter of the story they created, which leaves the creative team nothing but filler to work with. Not here. I really felt as if this issue kicked off the next major story line for Lara and even if it doesn’t turn out to be as long as the game (which was probably my favorite of last year) then it still has this far-reaching feel to it. It does not come across as filler that’s for damn sure.

The art was also fantastic as Nicolas Selma brings each characters fears and anxieties to life through their body language and facial expressions. Selma does a fantastic job of making the action and danger very real and is sure to get your heart pounding.

Even if you’re like “what’s a Tomb Raider” this is still a hell of an action adventure story to check out so don’t just pass on it because you don’t play the games; you’re only cheating yourself out of a great issue.

Score: You Should Buy It!!!

Writer: Gail Simone Artist: Nicolas Daniel Selma Publisher: Dark Horse Comics Price: $3.50 Release Date: 2/26/14

Dual Review: Furious #2

In this dual review two writers (in this case Kimberly and Dustin) will take a look at the issue and give a score of: Buy, Borrow or Pass. Before we begin here’s what the issue is about from Dark Horse Comics: The media can’t get enough of the high-flying supercelebrity known as Furious! But the authorities are convinced she’s a danger and a menace—they’ve had more than enough of the privileged vigilante! Stuck in the crosshairs of her past, Furious must balance her desire for justice with her quest for redemption.

Kimberly: BUY

I’m not sure if I could write a review that would even do justice to this comic. I love her, I think she has the potential to become an iconic image; I mean she’s got her own twitter. I’m just sitting here cheering Furious on start to finish.

This was a great continuum from the first issue; you get to see more of who Cady Lark is but only just enough, so you are left wanting more. Furious has some inner demons that she can’t escape but hey what super isn’t a little self-loathing? Most of her struggle in this issue is herself and the crime fighting action is more of a filler. This makes me feel a little afraid for the plot but there were some scenes implanted in the issue that will hopefully lead to an emergence of a compelling storyline. Either way, Furious is one of those stories that kind of just lifts me out of a shitty mood.

Dustin: BUY

If I could give this issue a score it would be 5 out of 5. This quite honestly is one of the best superhero stories I’ve ever read. I’m in the dark at times (intentionally so), I’m intrigued (all the time) and I can’t get enough of this series. Ever issue feels too short, even though I know it’s not.

Bryan JL Glass has crafted a wonderful story and created a character that is so real it’s amazing. I can’t get enough of Lark aka Furious. I love that she still calls herself “The Beacon” while everyone else refers to her as Furious. It’s fantastic. There’s so much depth to her character that I crave more and I can’t explain it all to do it justice.

Victor Santos makes this book successful. His art is stunning and while different from what most people would consider the “norm” for superhero books, I think he re-writes the norm. His style is dynamic and yet personal. I feel every hit and action that Furious takes/makes and that’s incredible. His visual storytelling is amazing and I’m foaming for more of him on this book and hope that for some reason they make an art book of sketches or something.

This is an incredible series that every comic fan, especially superhero fans, should be reading. Don’t miss out.

Score: BUY IT NOW!!!

Writer: Bryan JL Glass Artist: Victor Santos Publisher: Dark Horse Comics Price: $3.99 Release Date: 2/26/14