Review: Witchblade #172

This is the issue I’ve been waiting for. I was bored with the last two issues and was borderline on returning for this issue. I figured I’d give it until the end of the arc depending on how this issue went and it looks like I will be here until the end of the arc. The success of this issue is in the pacing. Whereas the first two were slow-moving with slight jumps in action or backstory, this issue keeps a steady pace always plunging forward. It picks up in Sara’s hospital room with the crazy serial killer looking to end Sara and Kate… until an Angelus soldier shows up. Crazy guy decides that he needs another sacrifice in order to talk to him and goes for Kate, but the Angelus dude guts him instead and takes the portion of the Witchblade that he’s been using to kill people.

Already we have a new interesting aspect of the Witchblade as he uses it to make a knife and a gun before he’s stabbed. Then as the Angelus is about to gut Kate, Sara shoots him in the side of the head at point-blank range.

We flash back to two years in the past (which is interesting to know now) and find Sara in the final stages of getting rid of the Witchblade. Two years in the future and the Angelus is waking back up and Sara tells him that if his master wants the Witchblade to come and get it. I’m pretty sure that if she wasn’t holding a gun and recently shot she would have either spit on him or at least crotch-chopped him.

I’m very interested in these past two years that Sara has been without the Witchbalde. Not to see what Sara was doing since I know it’s working as a small town Sherriff, but what’s been going on with the Witchblade and the other Artifacts. Really having the Darkness be dead is the most interesting thing to happen to this series. I don’t think he’s actually dead since the series came out like last week, but for now it’s interesting to see the Witchblade go up against the Angelus and trying to figure out how the Witchblade even got out and in to other people’s hands. It could dramatically change the way the Witchblade is used which would be a huge breath of fresh air for this franchise.

Overall Ron Marz did a great job of keeping me interested. I’m not going to be so quick to jump ship in the future and if you were in the same boat as me then give it a moment. This was a slow burn for sure, but this issue is actually entertaining.

The art seemed a bit rushed in this issue. Laura Braga’s was one of the reasons I kept with the series due to her work on the first two issues, but here it just wasn’t as crisp or dynamic. It feels like she had too much to do with the visuals and so she sacrificed her style some and I’d hate for that to become a habit. It’s still a good-looking book, but not as great looking as it’s been. Still, Braga’s style is a much-needed change for the franchise that started off as a cheesecake book.

This was an entertaining issue and sets up a lot of questions for the series which is great. A lot of the mystery for this series has come and gone so it’s nice to see some life injected into it. Hopefully Marz has some big plans for this series so that it has a reason to stick around.

Score: 3/5

Writer: Ron Marz Artist: Laura Braga Publisher: Image/Top Cow Price: $2.99 Release Date: 1/29/14

Review: Conan and the People of the Black Circle #4

The regular Conan monthly title has been real primo fare. It has classic art, superb writing, and awesome adventure. It's Great! So if you build on that success, pull out one of the classic tales from the source and turn it into a four issue mini, it too should be simply smoking...Am I right? Am I? Dark Horse believes so and they have released the Robert E. Howard story of Conan and the People of the Black Circle. They are running with it using the talents of Fred Van Lente for writing the script and Ariel Olivetti for providing the art of this timeless character whose time ran "between the fall of Atlantis and the time of recorded history.” Issue four completes the story that was written by Howard and published in 1934 in Weird Tales magazine.

As for me, after reading it, I am left scratching my head as to its goodness. I decided to read one of the standard monthly issues for comparison and I am scratching my head no more. This particular issue just doesn't measure up to the monthly at all.

I have been trying to pinpoint what it was that I didn't like. Was it the writing? Was it the art? Was it the whole story in general? Are the monthly offerings just too much for a mini to compete with? My answers in order are...Maybe...Maybe...Maybe....And Absolutely. Van Lente tells the story adequately enough as Conan is working toward rescuing a princess from an evil wizard and his minions of doom. Conan stories typically work best when there isn't a whole lot of dialogue as big C always lets his actions do his talking and I felt that the dialogue was a little clumsy at times. And when you add that clumsiness to some of Howard's classic style narration, it just didn't feel right. I think Van Lente gave a good and honest effort to the story and I could follow it, but it didn't blend well as a writing harmony with what was being presented visually.

Which brings me to the art.

I simply was not into Olivetti's pictures. They felt rushed to me and shots with more than one person in them almost seemed like stock drawings were put in. Now this isn't for the issue as a whole. Olivetti is a great talent and there are moments that just rock. I particularly like an encounter from an aerial predator at the end. But overall, there just wasn't enough of those moments to win the issue or story over for me. It just wasn't mind blowing, just ok and mediocre which pains me as I love the monthly so much.

If you are die hard into Conan, have the classic John Buscema art hanging up in your man/woman cave and have first prints of Howard's books, then I would buy this issue and place it into the lore and legend. But, if you are a comic fan who digs on original story telling and great art, then I would probably just borrow this one as a so-so tale and stick with the monthly. It is far better.

Score: 3/5

Writer: Fred Van Lente Artist: Ariel Olivetti Publisher: Dark Horse Comics Price: $3.50 Release Date: 1/29/14

Review: Lost at Sea – 10th Anniversary (HC)

The 10th Anniversary of Bryan Lee O’Malley’s Lost at Sea hits us this year. This graphic novel takes a whole different look on adolescence compared to O’ Malley’s Scott Pilgrim. The obvious difference is the light heartedness of Scott Pilgrim vs. the serious issue that our main character deals with. I, never having reading this novel, was surprised with how drastic of a difference the books’ attitudes are. It really just shows the range that O’Malley has. We catch up with Raleigh, an awkward girl deciding to take a road trip. The novel is narrator by Raleigh with small conversations in between with the other characters. I liked the reflection the novel had right off the bat. It is a very teen angst novel that will appeal to teens and the troubles they go through. I would say that more females would enjoy the book because of Raleigh’s struggles, but males could it enjoy it just the same.

Raleigh’s friends include two nutjob boys, Dave and Ian. These guys provide the humor with their consistent fighting and non-macho-tendencies. Her other friend is Stephanie who is constantly smoking and sarcastically making fun of the boys. The weird part about this trip, through California, Oregon, and Canada, is that Raleigh was accidentally called by Stephanie for an invitation. Raleigh takes the invite hardly knowing these people.

The comic’s colors are mostly these dulled out blues and pinks. It fits right in with the mood of the comic. I never wondered what colors should have actually been in the novel, so that is always a plus when a reader is satisfied with color.

Raleigh has some real life issues though. Her parents are divorced, her best friend has moved away, and to top it off her soul has been stolen by a cat. The cats are throughout the comic representing different things at different times. Of course I love cats, but honestly I loved the use of the animal popping up at all times. It showed great symbolism and added this unique quality that the comic needed. So Raleigh takes us through this self-discovery with the novel. She explains her hardships that almost anyone can relate to. The thing of it was though, I felt like I was too old to read this book. Ah! Please don’t tell me I am too old, but seriously, if I had picked this book up in high school or even four years ago it would have read clearer to me. I suggest that this novel be read around those angst periods or soon after, otherwise, the points seemed missed. It was hard for me to go back to that place, but that could just be me.

I still enjoyed reading this novel though and will no doubt add it to my shelf for a good read. It offers a lot of questions for those of us who can’t seem to find any answers. I guess that is the point...right? I love the idea of Raleigh going on this road trip too. It is the perfect backdrop. And then being with new people allows the reader to see the characters open up in news ways. All in all, I was happy with my choice from Oni Press and hope that you guys enjoy rereading or for the first time opening Lost at Sea.

By the way, shout out to O’Malley for drawing adorable cats! Loved it.

Score: 4/5

Writer/Artist/Creator: Bryan Lee O’Malley Publisher: Oni Press Price: $24.99 Release Date: 1/29/14

Review: Forbidden Tales Archive – Vol. 3 (HC)

Forbidden Tales is a lesser known magazine of horror published in the 1950s. It ran well into the 50s, but changed its format significantly after the 1954 Senate Subcommittee Hearings of the Danger of Comic Books. It would later return to its origins, but never really getting the high praise of other horror type comic magazines at that time. Dark Horse Comics, in its commitment to archiving classics from the past, has released a third volume of this magazine in its full original format, ads and all. This volume covers issues #9 through #14 and contains within its pages tales of ghosts, vampires, evil gnomes, demons, mutants, and a whole host of other persons and things of the bizarre. All stories are in color and feature typically four to five comic stories with one single page written tale of mystery. The time frame of the original releases was from September 1952 to February 1953. A time considered to be the heyday of this title.

I have always been a big fan of these types of horror mags, but never in my readings have I ever encountered a Forbidden Tales. I knew of the name, but nothing more. To get a chance to read this 220 + page archive was a treat and I was looking forward to several hours of suspense and fear that was printed back before the days of the Comics Code, where creators liked to push things to the limit and address issues often not covered within the pages of other comics. I was psyched.

Then I read it… man, was I let down. I can see why Forbidden Tales never quite reached the same successes of some of its contemporaries. The stories are just not that good. Most of them are very straightforward "boogeyman" type tales dealing with a couple and whatever monster or creature was trying to get them. The stories at best are predictable, and at worst, redundant. There simply isn't a whole lot of creativity or pushing of the envelope in nearly any of the stories released in this volume. If this was in the 1950s, I think I would have been mad that I spent a whole 10 cents for what is nothing more than unimaginative story telling. This was a huge letdown to be sure.

There were a couple of stories that I at least found readable, but they were few and far between. The Witches Curse is a good old fashioned revenge story hundreds of years in the making regarding one of the original Salem witches. It played well and maintained my interest. The same could be said for Ware -Spider's Doom. It was a creepy story that had artwork which definitely made my skin crawl. After those two, the only things that really captured my interest were the single page written tales and the "Real History" comic stories. The true tale of "real vampire" Elizabeth Bathory was particularly interesting and a written story (by an unknown author) entitled Portrait of Satan was genuinely spine tingling with a sad ending as a man invokes the devil himself through a shrunken head from Africa. I can also give an honorable mention to The Man Who Knew All which deals with a "chosen one" and The Awful Letter, another revenge tale from a business partner that was ripped off. I did expect more from this volume though. I just never got more unfortunately.

Though Forbidden Tales may be a little dated, I have read many comics from this era and even earlier that were far more suspenseful and horrific. I think that the publishers of this magazine at the time tried to play it safe and never really delved into the world of the unknown and bizarre like others of the time did. The majority of the stories here present that halfhearted effort. I would have liked to have seen more horror to this horror mag. This volume just didn't offer it to me.

If anyone has a desire to read old horror comics, I highly recommend other titles of the era. Forbidden Tales simply doesn't measure up to what is out there. Purchasing this volume might leave you quite disappointed.

Score: 2/5

Writers: Various Artists: Various Publisher: Dark Horse Comics Price: $49.99 Release Date: 1/29/14

Review: EC Archives: The Vault of Horror – Vol. 3 (HC)

Remember the first comic you picked up? It might have been great, but was probably kind of terrible, and you still found something that you intensely loved about it. That’s why you’re here, right? For me, it was an issue of Tales from the Crypt that I found at my grandparents’ house when I was seven. There were a ton of words, and the drawings were a little static, but they were disgusting. And I loved it.

Dark Horse’s reprint of The Vault of Horror - EC Archives vol 3 is a warts-and-all love letter to these old books that we all loved, and America writ large loved to hate. In this volume, they’ve reprinted issues 24-29 of The Vault of Horror, with the tales ranging from a set of conjoined twins (one of whom has been dead for years), a local city council building a highway over a graveyard with obvious consequences, and a woman performing taxidermy on (taxiderming?) her abusive husband.

EC Comics tend to get looked at with rose colored glasses when we talk about them. They were the victim of the Seduction of the Innocent trials — and to that end, several of these issues include letters from concerned parents that the editors respond to with tact and good sense — and we think of them as the underdogs. But the fact remains that there’s some truly problematic stuff in some of these issues. There’s some cringe-inducing casual racism in basically any issue involving a person of color (which are few and far between), and the women are all either shrews who are trying to keep their men, pure evil, or helpless in the face of the events conspiring around them. About half the stories in these collections where women feature at all would fail Kelly Sue DeConnick’s Sexy Lamp test.

One thing that I’m not sure is a downside: in the process of reprinting these books, Dark Horse has had them all digitally recolored. The coloring looks fine, a little more gradient than I’m used to in books from that period, but they’re also somewhat erasing the work Marie Severin did on all the issues. They maintain in the several repetitive introductions that it was done to meet printing quality standards and the new colorist was doing his best to quote Severin’s work, but still. You can’t just re-do Marie Severin’s work and think that’s totally 100% okay. The lady was a genius. Anyways, moving on.

The upsides: these comic books will teach you everything you need to know about making a comic book. The unspoken thing about these old EC comics is that they are formalist dreamboats. Aside from the heavy use of narration, these comics are tightly plotted and paced, with some of the most expressive faces you’ll see for that period. Johnny Craig, Jack Davis, George Evans… These guys are on a Kirby/Eisner level as far as a book you can take apart and learn everything there is to know about comic books from a single issue. You might learn some “what-not-to-do” lessons about the aforementioned packed narrative captions, or the overuse of exclamation points. (Actual quote: “Emma opened the refrigerator and withdrew a can of frozen orange juice! Then she took a can-opener from a drawer!” It’s the most dramatic frozen orange juice that’s ever been prepared).

The books also have some hidden gems. Issue 29 features an official EC adaptation of “Let’s Play Poison” by Ray Bradbury; for a history nut (and you may have to be to pick this collection up), it’s pretty intriguing to see the back and forth in the letter columns about whether or not EC comics are corrupting the youth of the nation; the short stories in every issue are what we would call flash fiction nowadays, and they’d probably be in a literary mag before they ended up in a comic book.

These books make for a good library collection with the DC Absolute editions and the Marvel Essential reprints. I don’t think you’d regret picking them up one bit. Unless you’ve just eaten…

Score: 4/5

Writers: Various Artists: Various Publisher: Dark Horse Comics Price: $49.99 Release Date: 1/29/14

Review: Sherlock Holmes and the Vampires of London (HC)

Released just in time to capitalize on the still growing popularity of a classic and beloved character. I’m sure that the fact that Benedict Cumberbatch’s name being all over the place in the recent years will do something to help out as well. Let’s face it, everybody, Sherlock Holmes is a character that isn’t going away. Why we don’t see more of him in this medium is beyond me. By the time that I got to the end of this book, I was preparing a petition to send to Dark Horse to get an ongoing series up and running. I guess that I just gave it away, didn’t I? You don’t even have to get to the end of the review to know that I liked it. Spoiler alert, I guess. Regardless, this was a pleasant surprise for me. I knew that I would dig the book, but I figured that it would get one of those “fun read” reviews. There’s nothing wrong with being a fun read, but that usually doesn’t sell books. Sherlock Holmes and the Vampires of London was awesome. That sells books. So listen to this synopsis:

Sherlock Holmes died during his fight with Moriarty in the Reichenbach Falls. Of course, that’s what everybody thought, especially the press, and Sherlock’s good friend and partner, John Watson. However, Holmes is alive and has decided to take advantage of his situation to travel the world. Unfortunately, the fates have a different plan for him, and he is forced to intervene when Britain is plagued by vampirism.

I guess that that sells books too. Here I am reviewing it.

Sylvain Cordurie does an exquisite job of writing Sherlock’s dialogue. That is by far the best part of the book. Well that and the narration. I really thought that I was inside his head while he was doing his little detective thing. I hadn’t had a chance to see how Sherlock would deal with a vampiric problem before, but I’m happy to say that it surpassed my expectations. I would very much like to see more from this creative team. I hadn’t really had a chance to read a lot of Sherlock Holmes related fiction before the last few years, but it has definitely been a ride. This will make a terrific addition to the mythology of the character.

Now the art is very fitting. Britain looked amazing throughout the entire book. I tend to spend a lot of time reading dialogue a lot more than I do looking at art, that’s just what I do, but Laci’s work stopped me cold a few times. There I was, chugging along in my normal routine, enjoying the story. But before I knew it, I was rudely interrupted by some of the most beautifully drawn horror comic book art that I had seen in a while. Make sure to look out for a particular panel that contains a reflection of Holmes in a puddle of blood. I really enjoyed the look of this book, and I’d like to see some more of Laci’s work as soon as I can.

So now that we’ve reached the reflection part of the review, I’d just like to say, hey! And now that I’ve got your attention, read this book. It’s not every day that you can read something awesome and original, and yet be about a character as old as fiction itself (I’m exaggerating a little). Make a trip to your local comic shop and track this thing down. If you can’t find it, look harder.

Score: 5/5

Writer: Sylvain Cordurie Artist: Laci Publisher: Dark Horse Comics Price: $17.99 Release Date: 1/29/14

Review: Godzilla: Rulers of Earth #8

The alien invasion continues as Woods and Chavez stow aboard the creature’s ship in the aftermath of the fight between Godzilla and Ogra.  Jet Jaguar lends the two stowaways a hand.  Meanwhile, the green aliens appear and spark a three-way fight between them, the humans, and the Cryog’s tentacled bunch. The cast of kaiju for this issue are Biollante, Godzilla, and some surprise monsters. No spoilers.  Just go out and but this because you will be satisfied.

We’ve got some great balance between the action and the fighting.  Matt Frank’s pencils do some good work depicting the slobber knocker between Godzilla and his rose/g-cell/soul of a Japanese girl counterpart, Biollante.  If you don’t understand that last reference, you are just not a true Godzilla fan.  If you do, you will enjoy this battle.  And, by the way, the theme of this issue seems to be tentacles.  Many aliens and monsters in this issue have them.  Go figure.

Additionally, Chris Mowry uses Jet Jaguar most effectively.  Old Jet never speaks a word, he shrinks down to human size, and he kicks sufficient kaiju ass.  I wish the silver robot could have stayed in the battle a little while longer.  Hey, IDW, I will write a Jet Jaguar spin-off for you that will have record-breaking sales.  You know where to find me.

In the meantime, enjoy the work that Mowry and Frank bring to this great on-going version of the King of the Monsters before IDW pulls the plug on this and replaces it with Godzilla: Age of Continuity Despair.

Score: 4/5

Writers: Chris Mowry and Matt Frank Artist: Matt Frank Publisher: IDW Publishing Price: $3.99 Release Date: 1/29/14

Review: The Final Plague #4

Like most people my age I have spent my fair share of time thinking about the zombie apocalypse. What would I do, how would I handle the situation, etc, etc. In recent years I’ve avoided the genre due to the fact that everyone has a take, an opinion and finds it fun to discuss it at great lengths. To put it plainly, what was once special and fun is now so mainstream that it’s as painful to hear about as news of a celebrity being arrested. When I read it’s a “new take” on the zombie genre I scoff because it’s usually not. So why am I talking about and reviewing The Final Plague? Because it’s actually different! At least it was until several other titles recently sprung up with a similar theme of rabies being the transmitter of the zombie virus. The Final Plague has been releasing bi-monthly which hasn’t stopped it from being interesting or enough time for me to forget about it, but it has given other series the opportunity to catch up. Just know that while those series are claiming to be a different take on the genre… again, they’re not.

The thing I enjoy about this book is the different perspectives; seeing people in different situations in different parts of the country dealing with the same overall situation, but different circumstances. In one case we’re following the lab that’s responsible for the outbreak. We see how they’re trying to handle the situation before it gets out of control. What they don’t know is that it is out of control.

Another side of the story has been a farming family in Idaho; the father of the family has been bitten and watching his frightened family and him dealing with the events is something everyone can relate to. I’d be hard pressed to tell you which aspect of JD Arnold’s story I’ve enjoyed more as he has created wonderful characters and dumped them into terrible situations.

Something that definitely sets this book apart is Tony Guaraldi-Brown’s artwork. His wonderful use of water colors makes this every panel a treat to look at. A prime example of his skills can be found on the first page. A dead and zombified woman’s face is in the foreground, while three blackened silhouettes stand in the background. It’s a powerful opening and it really only gets better from there. I would love to talk about other scenes, but it would spoil too much. I will say that cover isn’t just there for looks.

I almost wish there was more to say about this series and issue in particular, but it’s just solid from beginning to end. I’ve very exciting to read the ending and I don’t see how it could be a letdown considering each issue has been better than the last. I dabble in and out of zombie titles, but this is the one I make sure I get. That should tell you something considering how many z-books are shipping just this month and week alone.

Score: 5/5

Writer: JD Arnold Artist: Tony Guardaldi-Brown Publisher: Action Lab/Danger Zone Price: $3.99 Release Date: 1/29/14

Review: The Sixth Gun #38

With a mummy, snakes, ancient weapons and magic this isn’t your typical old west story. What I can tell you is that it is a perfect blend of bringing all these element to the table and capturing your attention. This is one of the reasons this is one of my favorite comics every month. Asher is going after Drake because of a failed promise. That promise being that Asher’s love would be brought back to him. Asher now has joined forces with the grey witch going after the Six. As Asher attacks going after Drake and Becky, Drake uses almost every gun to stop Asher’s attack. Being a 9ft mummy nothing really stops him easily. Drake saw this coming that Asher can turn at any moment and has a plan to destroy him.

The rest of Drake’s posse has their own trouble with the snake-faced hombres they just keep coming and are after Kreig’s books. These books hold a key to destroying the Six and other secrets that would be disastrous if in the wrong hands. Gord and Kirby go to protect the books as Nahuel, Indian hunter and warrior holds off the horde with everything he has. The action just takes off after that.

This book is action packed in every panel. It gets your heart pumping and anticipation rising to see what happens next. This book also has some moments that make you gasp. I love how it all flows making it a real page turner. Plus the story makes all the elements of the book connect so well with the setting of the plot. The characters are strong and each has their own uniqueness that makes them stand out, but also rely on each other.

I love how the art flows from panel to panel. It captures the tense moments in the story and gives it the extra push to bring the story together. The coloring really makes you feel the town is under siege and everything is a battle for life. Also with coloring you can feel the dark moments and hope being lost in the book.

This book is awesome I don’t care if you haven’t read this arc yet or even this series, it’s a must have pick. The way the story is going you can pick it up at any moment. Also this book is so great because it throws the action at you but makes you want more at the end to keep you hooked. This has to be one of the best books set in the old west out there and perfect for the comic medium.

Score: 5/5

Writer: Cullen Bunn Artist: Brian Hurtt Publisher: Oni Press Price: $3.99 Release Date: 2/12/14

Review: Never Ending #3

Never Ending hones in on the struggles of being a superhero with their lead man, Chuck. It is actually quite intriguing to see what this hero goes through on a day-to-day basis. I keep thinking this comic will turn into something I have read before, but I have definitely not read something like this before. The book is like the behind the scenes adventure of our American Superhero. Chuck, a superhero who has lasted through the years never aging, comes to terms with his powers. Most superheroes have this overwhelming need to destroy things. Chuck on the other hand deals with depression throughout his life. He goes back and forth from saving his people to regretting his past time with wife and child. His son recently died, and now Chuck has kept distance from his son’s children. I don’t blame the guy though. Time means nothing to him and after losing his love, Ellie and then Harrison, he doesn’t want to get close.

Obviously the comic mimics Captain America’s story, but Cap always finds balance in fighting for his people or country. Chuck just accidentally got powers one day, and no one chooses for him to fight but himself. And now he has decided not to fight anymore. He gave up being the hero in order to just make the motions of everyday life with no meaning. You really have to feel sorry for this guy. This issue along with last month’s issue really focuses on his lowest points in life.

Chuck recalls his progression with Archie, and how he always viewed him as a friend. I really love how this comic talks about how Chuck’s powers affect everyone around him. At first, you think Archie is just some scientist, but really he is the root of evil. Chuck only wants to see Archie, the scientist, not Archie the evil-doer. I love how their relationship was building, and then on top of that I was sad to see how it ended. No wonder this dude is depressed.

My favorite part of this comic is the time jumping. When we normally think of jumping time, it usually revolves around some sci-fi elements and is the main plot point in the comic. Never Ending takes on this new concept on time and turns into something different. Although we jump back and forth between time periods, we should really be focusing on the happening, not the time. These moments in Chuck’s life are what define him as a human being. If we had unlimited time what would moments mean to us? Chuck is always searching, whether he admits it or not, to try to find this answer. I love taking this journey with him and couldn’t think of a better lead.

Never Ending has the perfect combination of superhero and raw emotions. The concept is something new but  don’t think this timeless piece will leave you in an endless cycle. The time has nothing to do with it. Instead it is relatable to life’s moments and how we count these moments.

Score: 4/5

Writers: Adam P. Knave and D.J. Kirkbride Artist: Robert Love Publisher: Dark Horse Comics Price: $3.99 Release Date: 1/29/14

Review: Saga #18

Written by Guest Contributor: Jordan North Saga # 18 is as much an end as a beginning. Equal parts loss, love and realization, this issue feels like the closing of one door and the opening of another for Brian K. Vaughan and Fiona Staples ever-terrific Sci-Fantasy tale.

Picking up in the midst of issue #17`s chaos, issue #18 features a lot of parties doing a lot of separate things. Kicking off the madness we get treated to a wonderful moment as Marko’s mom Klara reaches a breaking point while being stared down by the yellow eyes of Lying Cat, forced into intimidation while lying next to the corpse of her late enamoree, Oswald Heist. Her declaration, “I’ve had enough” is a real hurrah moment for a character whose had to endure so much and, as much as I love him, Lying Cat totally deserved that thumb to the eye. And Izabel icing the cake by driving LC off by taking control of his self- conscious through ghost hallucination? RAD. “Leave, or so help me I will haunt your ass”. Indeed. Rock on Izzy.

Up at the lighthouses peak tensions reach a boiling point as Marko’s heartbroken (and maybe more than a little insane) ex-lover Gwendolyn has Marko, Alana and their baby Hazel in a tight spot. As easy as it is to hate Gwen and all her manic spite, she too is a character we grow to feel for over the issues, that empathy peaking here. Heartbroken by Marko’s loss and driven wild by the inability to help the new love of her life The Will she ends up as a pretty sympathetic and pathetic character who just wants to be loved, *sniff, too bad she boarded the crazy train, could have been a nice girl. The end result of the conflict ends powerfully as well as Marko’s “sacrifice” of throwing his wife and child off the lighthouses peak to be spared the point of the hit-woman’s nightmarish metal-whip-gun thing turns into a heartwarming gesture of trust as Alana stares Marko down incredulously after flying herself and her child to safety. “How did you know?” she asks “What? That my wife can do anything?” Marko is a good dude.

Perhaps the rawest deal of all is gotten by the ill-fated Prince Robot IV who staggers off from the fires of the battle cracked and broken, will he return? Who knows, but he’s a character that I personally will say I could stand to see a lot more of, the mythos of the royal “Robot” clan feel like they have many more interesting things to show us. Kudos to Vaughan who makes an odd neurosis of a terrifying character into a joke for a darkly hilarious sendoff here.

The final narration of Hazel is one of a, “new chapter” type persuasion (ending in a delightful literal “new step”) that really gives us the feeling that Saga is ready to turn the page and take a swan dive deeper into what has been some of the best and most imaginative lore in comics in the past few years, and Jesus H. Christ am I ready for the trip.

Score: 5/5

Writer: Brian K. Vaughan Artist: Fiona Staples Publisher: Image Comics Price: $2.99 Release Date: 1/29/14

Review: Revival #17

Sometimes comics can be the most enjoyable to read when they read like a breeze.  Sometimes though, it’s most satisfying when you find yourself immersed in the world of the comic and never want to leave the world that’s been created in the book.  The latter is what I felt reading through this issue of Revival-once again there’s a lot going on, and not a lot that I feel like I actually know about these eerie events taking place in Wausau and its neighboring communities. The issue kicks off right after the events from last month.  Dana is bloody but is determined to track down the disfigured, masked man who happens to be trying to murder Professor Weimar.  Now if you recall, Weimar is one of Em’s professors, not to mention that Weimar is also cheating on his wife with Em.  We’re not necessarily sure why this masked man (or possibly reviver?) wants Weimar dead, but it is certainly interfering with Dana’s investigation of Em’s murder considering Weimar is her prime suspect.  Weimar knows that his end is near, and starts covering all of his tracks.  He gives his wife Nithiya a stack of papers which he says he wrote for her.  He says that the papers contain everything she needs to know.  He says she needs to trust him, ask no questions, and then throw the papers in their fireplace so they burn.  Weimar says Nithiya’s life depends on her not knowing where he’s going, so now we see Nithiya may be wrapped up in all the madness without even knowing it.

Dana shows up to the Weimar’s house a bit late since Aaron had already left.  However, Nithiya had installed a tracking chip on Aaron’s car since she was starting to get suspicious of him ‘being at the office late.’  Dana also covers her tracks by telling Nithiya to call the cops and not let them know Dana was there.  She kicks the door in from the outside to make it look like an attempted robbery and starts to follow the tracking chip on Weimar’s car.

Meanwhile, May Tao has Em all figured out and puts all the pieces together regarding the Check murders.  Luckily for the Cypress sisters though, she thinks the Checks deserved to die due to some disgusting, inhumane actions (yes, even worse than selling body parts on the black market).  Dana finally catches up with Weimar, but will she find the answers she’s looking for or will she end up no further than where she started?

Again, lots more to read here but this is a book that I wish everyone was reading so I don’t want to give too much away.  Revival is still my favorite series and brings me back month after month to this twisted mystery, but this issue didn’t draw me in as much as other months.  There is a huge event that takes place in this issue, but all in all it was more disappointing and frustrating than anything-in a good way if that makes sense.  If that is Seeley’s goal for the reader to feel, then he nailed it.  Disappointing and frustrating for myself, just because I want to know what's going on but sometimes feel like I might as well have never heard of the comic before.  With each layer of the proverbial onion pulled back, another three get added on.

Score: 4/5    

Writer: Tim Seeley Artist: Mike Norton Publisher: Image Comics Price: $2.99 Release Date: 1/29/14

Group Review: TMNT #30

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 IDW Publishing before we begin: The Turtles struggle to recuperate in Northampton. Each Turtle deals with the new status quo in his own way, and each feels lost. But can they find their way to being a family again as the past haunts them?

James: BUY

I keep waiting for this title to release an issue that is just ok, not amazing, but average. One that you can still read, but that doesn't just blow you away. The Turtles have yet to do that for me and after the thirtieth issue, I am still waiting for that ok issue. #30 is yet another winner.  I am beginning to think that it is not possible for an ok, much less a bad issue to be done. The writing and art are just too good. After “City Fall”, I thought, well maybe there would be a lull. The guys have traded their rooftops for tree tops in the country.

They are out of their element and maybe, just maybe the creative team will be too. Nope. The story is still just flat awesome. This issue works as kind of an update issue and uses a letter written by Michelangelo to Woody as the primary driver. As Mickey writes, the story plays out....and it still just kicks it with an absolute ferocious assault to the senses. Eastman, Waltz, Campbell and company are at their peak form and have really created a title that I would put up against anything out there, including the mega glitzy "big boys" of the comic world. TMNT not only has been one of my favorites and must have on my pull list every single month. It has really become one of my out and out favorites.

Transitioning from the city to the country has been smoothly made through Eastman and Waltz's writing with Campbell's artwork. In each story, you get passion, dedication, and above all, family, which is the cornerstone that separates the Turtles from every other comic out there. The family dynamic is deep, powerful, and in my opinion, the driving force to the amazing writing that we have seen month after month after month. I love it. I love it a lot. #30 continues to hold on to that high standard and expectation. It just doesn’t let up.

Kevin: BUY

It starts with Ross Campbell’s cover simple (it could be the best TMNT cover that I’ve ever seen) yet clean and peaceful cover and continues to his soothing and warm interiors with the Leo and his mother; thanks to that, TMNT #30 is an incredible looking book at times. With the aid of Ronda Pattison coloring the panels with Splinter’s wife, it felt so peaceful and pure. So much so that it added exponentially to the story and their healing as a unit. This is exactly the type of issue that the Turtles and the readers needed.

Steve: BUY

This issue shows the one thing I was afraid of when this series transitioned from “City Fall” to its aftermath: it’s gotten a little boring. I know this is really just an extended segue that will eventually lead the book to its new path, but I’d sacrifice the healing for a return to the mutant war of New York.

That’s not to say it’s bad, and I actually like the framework here with Michelangelo writing a letter back home. Also, pretty much every scene starring Leonardo is heartfelt and great, whether it’s with his mother or one of his brothers, but I’m ready for this title to have more Ninja in it again, I think.

The art, however, is absolutely brilliant, and I hope Ross Campbell stays with this book for a long, long time. Sure, his style is cleaner and more cartoony than I usually like, but it’s so nuanced and varied. I’d pay cash money for that page of Michelangelo scribbling at the start of the issue, or pretty much any page with the Turtles’ (spiritual) mother, which enjoys a fantastic Japanese-style flourish.

The story’s significant slowing-up this issue immediately makes me want to give it a borrow, and in fact, that was my initial judgement until seconds ago. Looking back on Campbell’s visual direction, though, I suggest picking this up for the art alone.

Dustin: BUY

I have to say that after “City Fall” I was expecting this series to take it easy and in a way it has, but not on an emotional level. I mean damn. Damn. Even if you put aside Mikey’s touching narration/letter that runs throughout the issue, this one still hits you in the chest more than once. Personally I really enjoy when the narrative it clearly for something else, in this case a letter to a friend, but is matching the parallels of the story. It’s good stuff in that regard.

I don’t want to spoil too much, but there are great moments for each of the four Turtles in this issue and that’s rare for the comic. Usually they can focus on a few, but here each Turtle, Alopex, Master Splinter and April all get their fair shake. It’s something I hope becomes a routine for the series. Not that I didn’t love “City Fall”, but I would definitely like to see more development for the Turtles. This is the biggest role Donnie has played in issues and I think that the team needs to be careful not to focus too much on any one Turtle.

As for the art. Damn. Damn. Damn. I really like it. I think it has a storybook quality to it, but still looks very cool. Alopex is awesome looking and so are the Turtles. I really enjoy that they’re all walking around with their masks off; it’s a nice touch that shows how relaxed they are and a good nod to the original comics. It’s also great to see a bit of the animated show seep in with the Turtles being different heights. I know it’s a really simple thing to do, but it really does go a long way in giving the Turtle their own presence on the page. All in all, it was a fantastic issue.

Score: BUY IT!

Writers: Tom Waltz, Bobby Curnow and Kevin Eastman Artist: Ross Campbell Colorist: Rhonda Pattison Publisher: IDW Publishing Price: $3.99 Release Date: 1/29/14

Group Review: Furious #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: Staring into a fractured mirror of her life, the world’s first superhero, Furious, seeks to atone for her past sins by doling out rage-fueled justice! But the spotlight of our celebrity-obsessed media threatens to undo her noblest efforts and expose her true identity before she can achieve redemption.

Kimberly: BUY

I have anxiously been anticipating the arrival of Furious for a while now and I’m so excited to tell you guys about it. Dark Horse Comics brings to us Furious and just as the many other superheroes that DC and Marvel has graced us with Furious leads a double life. It’s a breath of fresh air because unlike the role model archetypes of other well-known super heroes, Furious deals with inner demons and is painted as this loaded cannon that does more damage than good. Furious, a name the media pegged her with, desperately looks for redemption by becoming a ruthless vigilante. Her story is potent full of complex character development and scandal that hopefully will be revealed in later issues. Very impressed with Bryan J L Glass and Victor Santos for creating a story like this one. I shall deem it a “Buy.”

Neil: BUY

There was a lot of hype in Twitter promoting this book; I have to admit I got caught up in hype as well.   I decided to give Furious a shot because it was sold under the premise that this isn’t your typical super hero comic book.   After reading the first issue, I have to admit that the book does live up to the hype.  The book does have the grit and grim that most modern day cape books have, but what sets this book apart from the typical hero book, is the rich character development you get in the first issue.  You really get to dig into Furious’ psyche, while not giving away the entire backstory.

Aside from the character story that you get in the book, there is another issue that the comic tackles and that is the issue of power or fame, whether it’s a superhero power, or the power that a media can have on people, where they can make or break a person is an interesting issue the book takes and it makes you question who really is the “good” guys and the “bad” guys in the book. The art in the issue was very good, I love Furious’ design. Clean, and bright and modern, just to give you a feel that the story takes place in our modern times.   I am definitely in for issue two. I want to see where the writers take this character and the story.

Dustin: BUY

I’ve been looking forward to this issue since it was first teased and with that comes a lot of anticipation and hype. I’ve only had one book hyped by Dark Horse that let me down, but it let me down hard; enough so that I was still cautious going into this series. Then there was the fantastic short story in Dark Horse Comics Presents and I knew that I was going to love the hell out of this book.

And it only got better in this first issue. The layers of complexity for our main character are so deep. I know that the creative team particularly wanted her to be a strong female character, but really she’s a strong character period. Her gender didn’t even factor in for me because I was emerged in her story. The writing is fantastic. The narrative of “The Beacon’s” thoughts is very earnest and an amazing window into her mind.

Again, I’ve been waiting for this book since the teaser and since the teaser was the art… I liked the art. There are so many variables to the style. There’s a little bit of Darwyn Cooke; a bit of Michael Avon Oeming, but it’s all so dynamic and wonderful. The coloring is spectacular and gives it a classic look to it, but keeps in modern as well.

This was a great first issue and I have a feeling it’s only going to continue to get better. I would say you should buy two; one for yourself and one for your friend that will regret not buying it in a week.

Score: BUY IT!

Writer: Bryan J.L. Glass Artist: Victor Santos Publisher: Dark Horse Comics Price: $3.99 Release Date: 1/29/14

Dual Review: Black Science #3

In this dual review two writers (in this case Steve and James) 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 Image Comics: Shell-shocked and battered, Grant McKay and his team are stranded on the front lines of the European savages' final standoff against the Sons of the Wakan Tech-Tanka. Will this inverse manifest destiny claim the life of a member of the Anarchist League of Scientists? Or will they be betrayed by one of their own?

Steve: BUY

Here’s the thing about Rick Remender: you’ve gotta give him some time sometimes. Don’t get me wrong, I’m a fan, but on more than one occasion, it’s taken him a hot minute to establish traction. Of course, once he firms the position of his pounce - when he really digs his heel in - he can become an unstoppable force. Exhibit A: Black Science #3.

In terms of story, this issue does a great job of playing with one of my favorite tropes: alternative/revisionist history. I thought the second issue’s introduction of a conflict between early-20th Century German soldiers and a technologically-advanced society of Native Americans was interesting, but perhaps too marginalized.

It’s a conflict that remains on the fringe here as our cast of “Dimensionauts” tries (unsuccessfully) to avoid contact, but with one phrase - “inverse manifest destiny” - it suddenly became more thought-provoking. I mean, two historical empires - one real, the other imagined - both consumed with conquest and set against each other like this? Yeah, sign me the fuck up. And don’t even get me started on the promise of “Infiniology” or its teased study of what could possibly exist at the center of a rippling multiverse.

What’s even more interesting is the way Remender plots his character development in issue three. Moral ambiguity has already proven to be a hallmark of his players so far, but here, he stirs the gray in even further, making you question the ethical gravity of both pro and antagonist alike by ingratiating us to the series’ resident cad while showing both depravity and savagery in his marginally more wholesome characters. In so doing, Remender strikes an excellent balance of layers.

It’s interesting that Anarchist Scientist Grant McKay uses an onion as an analogy of his extra-dimensional exploratory endeavors, because I’d use the same image of Remender’s storytelling process here. Each big character reveal draws strength from its nonlinear framework, as he slowly peels back its layers in different times to divulge the true nature of his plot and those that people it. In fact, what is revealed here fundamentally changes, or at very least explains in a new way the book’s dynamic, and I once again can’t wait to see where this goes.

I continue to love Matteo Scalera’s art for this book. From his paint-stained urban cluster intro to the way he merges three discordant cultures to his almost marionette figure work, it’s all one big, wet treat. His action especially is fucking furious as it slashes in an often painterly way against the page, like a less-restrained Nick Dragotta. It’s an excellent style and has been pretty much the one constant thus far for the series.

I think it’s safe to say that after its third issue, I’m back aboard the Black Science express, with renewed faith that Remender has found his footing.

James: BORROW

I really enjoyed Issue #1 of this title. It was action packed and exciting with just phenomenal 1970s inspired art. Issue #2 was not as good, but it was not bad either, as the team who dared to mess with black science, were dealing with the ramifications of inter dimensional travel and its consequences. Issue three continues in this strange and bizarre land of German soldiers, Indians, and robots fighting it out in a WWI/Terminator Salvation type battlefield.  That alone should be worth the price of purchase, but we saw all of this in the last issue. We are still here and though the action did progress, it slowed down considerably even as the clock is ticking before the group is to be transported again. We did receive some needed backstory that allows us to now know how the current party of people came to be in this dimensional pinball machine.

Though the issue is readable and the art by Matteo Scalera is just wonderful (with absolutely excellent cover art by Dean White), this issue is at a place where it needs to decide what it will become. The story has near unlimited potential and is backed with the herculean writing chops of Rick Remender who is a master of his craft. If you don't believe me, I direct you to check out the Comic Bastards' review of Deadly Class #1. The writing talent is there, but I just don't know if it has gelled yet to be something amazing. I have been giving it the benefit of a doubt as I have rated it a "Buy" for the last two issues. I am downgrading  Issue #3 however to a "Borrow" as the elements are there, but nothing real groundbreaking has set this story apart as of yet. I was hoping #3 would be the one. It was not and I am disappointed at that. I am really hoping to eat my words for #4 though. Only time will tell.

Score: Buy or Borrow

Writer: Rick Remender Artist: Matteo Scalera Publisher: Image Comics Price: $3.50 Release Date: 1/29/14

Review: Theremin #4

Why yes that is the writer and artist of this series on the cover. You probably won’t catch that at first, but I will tell it is. Also… this issue is impossible to talk about without spoiling the basic premise of the issue so I understand if you want to read the book for yourself and not this review. If you have stuck around then let’s get to it.

This issue is very experimental for a comic book. Part of me thinks it works very well and another part of me is still on the fence. The thing about the issue is that writer/creator Curt Pires has written himself into the story a la Adaptation style… kind of. That’s the closest comparison at least.

The story is venturing through his writer’s block for the fourth issue (that you’re reading). Now whether that writer’s block is real or if this is just a clever experiment it doesn’t really matter. What the issue is dealing with is what do you do as a creator when you’ve killed your main character? Now see the part of me that was straddling the fence just jumped off on the side that feels this issue “does work.”

Why does it work? Why is it possibly one of the most important issues in all of comics? Because it’s comics. I know that doesn’t make any sense, but for a moment let’s think about this from a different perspective.

Let’s say that this was the issue after Daredevil was killed, really you can replace Daredevil with any other character it doesn’t matter. For now though Daredevil is dead and this is the next issue. What happens? Anything can happen. Anything. It can be an issue explaining how he actually cheated death or just his friends dealing with his death. It can be the effect of his death on other superheroes that only know the mask. What you don’t see is the creators stuck. You don’t see them trying to figure out what to do next because really anything they do we’ll buy. Even if we don’t like it a percentage of the readership will stick with it just to see what happens. The point is, we don’t need to be a part of that discussion or process and yet here we are… a part of it.

This issue could have very easily picked up with the last page and a half and the audience would have been none the wiser. Instead, Pires and Rose inject reality into this series making it art. I don’t know what else to call it. It’s fucking art.

In a strange way they hit the reset button on the series which was growing in complexity and while that hasn’t gone anywhere, we’re at least working with a new setting. Frankly I’ve never been more interested in this series. If Pires does truly write this issue to issue then he is one of the few writers that are truly creating a unique comic experience.

Though the story follows Pires, Rose is the hand drawing the hand. The book becomes very Meta because of his visuals bringing the world to life. He manages to make Pires’ world different from the one we’ve seen in Theremin up unto this point and when the story switches back he makes sure that you know it; that you’re aware of the switch through the visuals alone. And yet with that said the book never looks foreign, but fits right in with the rest of the series.

Without Rose this issue doesn’t work. It just doesn’t. It becomes an experiment at that point, but not a successful one. His visuals bring out the melancholy feelings that emit from Pires’ writer’s block. There are so many scenes I would love to dissect and gush about, but my descriptions wouldn’t due his fine artwork justice.

Lastly I will talk about Ryan Ferrier’s lettering. Yes even the lettering plays a huge role in this story. Ferrier’s lettering gives the dialogue and narrative a poetic look. The words roll off the tip of your tongue like licking a lolly pop they’re that sweet. The best lettering in the issue is “Ignored.” You’ll have to see why for yourself, but it’s presented in a way that you feel their delivery.

I really want to give this book a scale breaking score like 20/5 because it’s worth the value of four other 5/5 issues, but I’m serious when I say that this is one of the most important comic books that have been created in all of comics history. It’s an incredible issue for many reasons and so I want people who only look at the score not to see it breaking the scale and think that I’m fanboying about this series. In the meantime I can’t stress enough how much you should spend a dollar on this issue. A dollar. You’re ripping the creators off, but hey they set the price so get the issue; no excuses.

Score: 5/5… ah fuck it, 20/5

Writer: Curt Pires Artist: Dalton Rose Letterer: Ryan Ferrier Publisher: Monkey Brain Comics Price: $.99 Release Date: 1/29/14

Review: East of West #9

When you consecutively review as many issues as we do here at Comic Bastards, you sometimes find yourself a bit bereft. Why, even the swarthiest of wordsmiths can at times fall prey to simply running out of things to say about a series. And you know what? That’s okay. Much like the immortal Kenny Rogers once famously warbled, you’ve got to know when to hold ‘em, know when to fold ‘em, know when to walk away ... from a comic book run. That’s a direct quote, guys. Google it. Luckily, at least as regards this review and my current interest in captaining its continuation, Image Comics’ sci-fi western apocalypse, East of West, does not apply to the above. This is a book that continues to swirl evermore menacingly around itself, in the process churning up the borders of its story with the kind of rich narrative opacity that may make more murky its waters, but never fails to keep things interesting, fresh and perpetually more and more elaborate.

East of West continues to be universe-building at its absolute finest, especially in its current arc; the second of the series as a whole. In it, Hickman has done an award-worthy job of touching on every corner of his sawdust, black magic and laser beam-riddled realm, and issue nine is no exception, once again offering a fascinating new perspective into part of a world that its readers never knew existed.

That’s why I doubt I’ll give up on this book anytime soon; each time I crack it open, it feels like the start of something new and exciting. Each issue is a unique exploration of stones unturned. In a word, East of West’s biggest credit is being unerringly dynamic. I’m not sure you can say anything better of the episodic.

In terms of issue nine’s plot, apart from a scene wherein Death makes a very Old Testament deal with the ocularly-challenged Oracle in exchange for information on the whereabouts of his son, it follows a rather pivotal day in the life of new character, John Freeman. As crown-prince of an area known only as “The Kingdom” (i.e., that section of this world’s America that has been carved out as an oil-rich enclave for the victorious freed slaves after the American Civil War), it is his solemn task not just to meet the challenges of (and best in battle) the thirteen other brothers that vie for his position, but also prepare for the day when he will inevitably succeed his father, The King.

The bulk of this issue, then, exists as a political conversation between father and son, and as prosaic as that may sound, it does a superb job of that fibrous story bulwarking I was talking about earlier, without the tedium you might expect. Whereas it has been known to waver slightly in his other books, Hickman’s command of dialogue here is as gripping as ever, allowing both a great, introspective look into the character of John Freeman, as well as a more holistic view of the world he will one day, perhaps reluctantly, inherit. Not only that, but at its end, it sets up beautifully the next leg in this world’s race toward the apocalypse by chiseling yet another geopolitical facet into East of West’s fabric, and immediately setting it against that which has already been established.

Nick Dragotta’s art, while mostly being relegated to the aforementioned confab at the end of the book, continues to impress in tumultuous yet mostly tidy line work. He’s at his best this issue in its early pages shared between Death, Oracle and their shared memories.

Not that it suffers to any noticeable extent later in the book, but this encounter felt especially focused, possibly since I think he works best when set to the more arcane. At the same time, Frank Martin’s colors do an enviable job of setting the many different tones that amble throughout this book, without being either too morose or flashy.

Altogether, I’d call East of West #9 another fantastically illuminating detour on its dusty trail, and so long as Hickman, Dragotta and Martin continue to firm its story from the outside in - like a slowly-closing bear trap - I’ll be here to get snagged.

Score: 5/5

Writer: Jonathan Hickman Artist: Nick Dragotta Colorist: Frank Martin Letterer: Rus Wooton Publisher: Image Comics Price: $3.50 Release Date: 1/29/14

Serenity: Leaves on the Wind #1

I know there is a huge following of Firefly and Serenity and fans have been waiting patiently for Leaves On the Wind since the last series, It’s Never Easy, was released almost two years ago. So I am only a little bit familiar with Serenity but well aware of its mega fandom; however, Leaves On the Wind is perfect for anyone interested in Sci-Fi and will enjoy this issue whether they are loyal fans or just catching on to the series. So I don’t want to spoil too much but let me just say that Zach Whedon nailed the script and surpassed my expectations with the storytelling. For me, the first issue of a series is the most significant in convincing me to jump into another unhealthy addiction, I mean you know how it is, fan-fictions, memes, and hunting down variant prints and so far my first impression is that this is going to lead to adding Serenity to my pull list and Netflix it to do cross analysis. Anyways let me introduce the cast: Malcolm and his crew River, Kaylee and Zoe are just some to mention. The crew is bound to face some obstacles in the next five issues and who knows maybe we will even see them going head to head with the alliance.

If the fandoms aren’t peeing their pants already then they definitely will when they find out that the artist for Buffy, Georges Jeanty will also be working on Serenity. Jeanty doesn’t disappoint and throws the audience into the Sci-Fi world that is Serenity. I love the ways Jeanty utilizes hues of blues to capture outer space views. Some scenes are definitely print worthy. There’s just so much I am excited about in this issue that I want to tell you guys about but I got to keep it hush-hush, all I can say is Serenity is priority.

Score: 5/5

Writer: Zack Whedon Artist: Georges Jeanty Publisher: Dark Horse Comics Price: $3.50 Release Date: 1/29/14

Review: Mr. Peabody and Sherman #4

Back in the 1970s when I was a kid, I used to watch old Rocky and Bullwinkle episodes on my local television channel after school. I enjoyed said moose and squirrel, but the highlight of those episodes for me were the filler spots of the adventures of Mr. Peabody and Sherman. Call me crazy (many have), but those little bit of explorations into the history of mankind inspired me to break open the old encyclopedia afterward to get the real story of whatever topic that Peabody and Sherman were intertwined in during the show. I learned a lot and actually maintained a love of history that still permeates with me today some 35+ years later. That was a real creepy thing for me to say just now, but it's true. Like everything in entertainment, things cycle back around and what once was old becomes new again. This time around, it is my old childhood pals Mr. Peabody and Sherman. They have a new Dreamworks movie coming out real soon. And for about the past four months, a mini comic by IDW has been showing itself, acting as a primer for the upcoming movie that will be released in early March. Issue #4 is the last release before the movie and it features appropriately, a Valentine's Day theme of love sending our super smart dog and less than smart human sidekick back to the times of William Shakespeare and Cyrano de Bergerac as Mr. Peabody tries to show Sherman the essence of love and romance. Along their encounters, they find that both historical romantics are dealing with some "issues" that could negatively affect history. What ensues, are efforts to set things right and of course, puns o'plenty.

I really tried to not like this comic. I typically do not like my pleasant childhood memories getting soiled on by some reboot that loses its feel at the least and loses its soul at the worst. Scooby Doo and Speed Racer are two that come to mind. Oh yeah, the new G.I. Joe stuff too. I just don't like it. But here with Mr. Peabody and Sherman, at least for issue four, I enjoyed it. Sholly Fisch's writing was true to what I remember with the puns being a little bit goofy, but perfectly fitting with the spirit of the source material. Peabody and Sherman's banter were true to the characters as well and the writing pulled out the characters personality traits of Peabody being a highly confident egghead and Sherman being the dopey sidekick with strong opinions in spite of what Peabody tells him. Nice job.

I wasn't as impressed with the artwork as Jorge Monlongo's drawings seem to fall somewhere between the original cartoon and the highly digitized movie creation that I have seen in previews. It seems to not know what it wants to capture and I think it may have done better with trying to nail more of the past look rather the perfected present. Just my opinion, but these are my childhood memories dammit. Still, the art is competent and it doesn't impede on a forty something fanboy's memories enough to declare it garbage like I would with others. It holds up putting Monlongo's reasonable art onto Fisch's writing skeleton to allow me a brief moment of fun enjoyment of after school memories as well as reflections of Saturday mornings long ago, wearing pajamas, eating Captain Crunch cereal, and enjoying reruns of cartoons from the 1960s. I can only hope that the new movie will do the same when I watch it with my youngest son.

Score: 4/5

Writer: Sholly Fisch Artist: Jorge Monlongo Publisher: IDW Publishing Price: $3.99 Release Date: 1/29/14

Review: Super Dinosaur #21

I’ve never read this comic before issue 21, and I am kicking myself for making such an oversight.  I had a blast with this book.  Sure, when dinosaurs are involved with anything, I will be there with a wicked grin and outstretched money in hand waiting to surrender my dollars.  But as comics go, this one does what a good comic should: Super Dinosaur entertains. Derek pals around with his talking, cybernetically-enhanced dinosaur pal.  Their foes, the Dino-men, have a certain elixir that will bring Derek’s mom back to health.  The only problem is that the Dino-men are meanies, and they have something called a Mega-Raptor.

Derek and Super Dinosaur sneak in and stealth their way around the bad guys lair.  In doing so, Derek gets the formula he needs for his mom, but he also attracts the Dino-Men’s attention.  They’re not happy.

Using teleportation technology called Floor Doors, Derek escapes.  But that escape is at a big cost.

When I was a kid, I enjoyed two great shows called Dinosaucers and Dino-Riders.  Super Dinosaur fires up my nostalgia for those childhood sauropod related adventures.   Kirkman does a great job of keeping the action fast and fun.  His menagerie of heroes and villains would make for a great Saturday morning cartoon.  Or action figures.   I’m just worried that there are too many villains.  I hope they don’t get underutilized because some looked pretty great.

The technology infused Super Dinosaur has some great wit, some neat weapons, and a whole lot of teeth.  I’m also assuming his visual acuity is based on movement; otherwise, those people on Isla Nublar had it all wrong.

Jason Howard’s pencils are just the perfect blend of cartoonish and monstrous.  His depiction of Dereck and the lad’s gizmos was almost as cool as the look of the small armed tyrannosaurus rex that uses a joystick to control his larger, robotic arms.

This book is fun.

Score: 4/5

Writer: Robert Kirkman Artist: Jason Howard Publisher: Image/Skybound Entertainment Price: $2.99 Release Date: 1/29/14