Review: Freelance Blues

I wasn’t immediately sucked into the world of Freelance Blues. The story is largely predictable in that our main character Lance stubbles into danger no matter what job he seems to take on. Point in case his first job of the story is as a telemarketer. About half way through the day he discovers that his boss is using the call center to fuel rage and anger into his god Kali. The God comes to life and Lance jumps in to stop the raging god. It becomes painfully clear that this isn’t the first time this has happened to Lance and it definitely won’t be the last time. After a long night he heads home and in the morning is given a hard time about the job from his twin sisters that he looks after. We get a quick status quo of Lance’s life and the difficulties he faces bringing up his sisters.

After that Lance is onto another job and of course it turns out about the same. Though the outcome of each job becomes a bit predictable, it’s how Lance handles things and what’s going on in his personal life that actually drive the story. It’s at this second job that Lance learns that his Grandfather is dying. Only having enough money to send the twins on a flight, Lance has to drive across country to see his Grandfather and of course take odd jobs here and there to pay his way.

Freelance BluesThe story is actually pretty good. The ending is a little weak and possibly sets the stage for more, but I don’t know if I would read more. I liked what I read here and think that the story is actually very tight. You really care about Lance and his goal to keep his sisters with him. The rest of the family is well off and think they should take care of them, but Lance does everything and anything to prevent that from happening. It’s this interesting balance of family and monster hunting that ultimately becomes the charm of an otherwise formula based story.

One thing that doesn’t quite work for the story is the transition between chapters. Since this is a collection you really notice how quick the endings are and that the openings rarely callback to anything from the previous chapter outside of the family’s story. In particular, my favorite chapter about the gnomes had a very humorous ending that could have somewhat changed the story for the better. Instead it’s completely gone by the next chapter which I found to be one of the weaker chapters of the series. It’s not so terrible that it’s a deal breaker, but it does kind of invalidate the endings of the chapters.

The art is fairly consistent. It’s in all black and white and while the details vary, it’s not too bad. At times it does look like a comic that’s crying out to have a colorist take a crack at it. I’m fairly certain that Vicki Tierney handles all of the art on the series and you can definitely see a leap in skill towards the end. The art grasps the black and white concept and begins using the negative space for the betterment of the story. The character designs are consistent throughout the series and overall I liked the designs. There was just a familiar and fun feeling to them.

While Freelance Blues isn’t the strongest or most original story I’ve read, I did find myself liking it quite a bit. To the point that I stopped watching a TV show midway through to finish the story. It may not captivate you, but it’ll definitely entertain you so if you’re looking for a family story in the midst of a monster hunting story, then check out Freelance Blues.


Score: 3/5


Freelance Blues Writers: Ian Daffern & Mike Leone Artist: Vicki Tierney Publisher: Alterna Comics Price: $5.99 Release Date: 7/15/15 Format: Collected Edition; Digital

Review: Drifter #6

To say that I’ve been looking forward to Drifter’s return is a bit of an understatement. There’s a been a Drifter shaped hole in my heart since it took a break to ramp up the next story arc of the series. Then I read the issue and was a little underwhelmed.

I re-read it, like I always do with Drifter and I couldn’t help but feel the same way. It’s not that nothing happens, it’s just that it honestly felt different from the first arc. Ivan Brandon continues to make small steps forward on the plot rather than lengthy strides because that’s what works for this story. We’re introduced to a lot of small elements that enrich the world, but I don’t know if they did anything for this particular issue. In a way this is just a set up issue for what’s going to come and that’s a first in this series.

Drifter-#6As for what happens in the actual issue? Well someone dies, there’s a couple of funerals and a new deputy. Then half the town decides to voyage further than they’ve ever been to find the rest of the shipwreck to salvage parts to protect the town. That’s really all that happens and while all of that is actually pretty great in terms of the series, it’s just not as good as when we last saw the series.

Nic Klein’s art continues to be wonderful and is definitely still some of the best in the industry. There are two moments that popped visually for me… okay three, but these visuals didn’t help the narrative any which is a shame. Overall though I still love the way Klein has built this world and the unique character designs that range from all shapes and sizes. It’s a very worldly feeling cast which is pretty rare in comics.

I wish there was more to say about this issue, but again it’s all set up for the next issue/arc. This issue is solid, but it’s not the fantastic return I was hoping for. But let me be clear, this is still worth reading if you’ve been following the series and though it dips on the story, it’s still worth a purchase.


Score: 3/5


Drifter #6 Writer: Ivan Brandon Artist: Nic Klein Publisher: Image Comics Price: $3.50 Format: Ongoing; Print/Digital

Review: Red Sonja #1973

It is hard to believe that nearly 42 years ago, comic writer Roy Thomas, in looking for a new character for the Conan comic title, chose a little known female warrior described in an article with Conan creator Robert E. Howard as a “Russian hell cat” who fought alongside our barbarian that was depicted in a long out of point story called “Shadow of the Vulture. Changing her name from Red Sonya of Rogatine to what he felt to be a more exotic Red Sonja, Thomas ran with the old “Shadow of the Vulture” story, beginning the evolution of what would eventually come to be one of the best known and most respected female heroines in graphic print today. Yes, Sonja has evolved through the many years developing an iconic “Iron Bikini” fighting garb, an immensely confident persona, and a commitment to courage and truth that places her right up there with big old Conan himself.  Perhaps even bettering him during the last several years, thanks to the wonderful wording skills of writers like Eric Trautmann, Luke Lieberman, and of course the incredible current monthly run of Gail Simone. This warrior lady has gone full circle and is one of Dynamite Comics’ most successful titles.

The time is right for a compilation.

Now my first response to hearing about another Red Sonja compilation is to say a resounding “Noooooooooooooooo” as I have plowed through several mediocre tales that have no sense of direction or organization.  Many of the “special” issues of tales for Sonja have not been too terribly great.  And I have had the fortune (or misfortune, depending on how you view it) to review many of those aforementioned issues.  They typically let me down on a fairly consistent level.

Red Sonja #1973But when I first checked out the cover of this Issue #1973, I had a distinct feeling that things might be a little bit different.  At least the cover gave me hope anyway, as we have a tribute to some of the great Marvel tales of the 1970s even with the old classic “MARVEL COMICS GROUP” being replaced by “DYNAMITE COMICS GROUP”.  As an old school reader of these titles, my interest was at least there for this one.  Somebody did their homework at least.

So I open it and read through the six stories of the issue.  My initial thoughts….Quite nice.  Really, quite nice.  This compilation of stories dodges the pitfalls of many other such compilations by utilizing many of the writers who gave Red Sonja her mojo throughout the years.  It works well as the six independent tales cover a different angle of the She Devil with Sword, giving that sword a sharp cut and powerful thrust.

Right off the bat, Eric Trautmann writes in the style of the old Howard narrative, covering Sonja’s pursuit and eventual confrontation with a raiding party that has a precious cargo in their procession.  Equally represented graphically with Trautmann, is Ivan Rodriguez’ classic, yet modernly brutal imagery.  This story gets the whole issue off to a strong start and begins a pace that remains throughout. I finished this first story whispering a “Hell Yeah” under my breath.

Story number two, entitled “For Whom the Bell Trolls”, has Sonja writing OG Roy Thomas combining a little bit of grit, a little bit of grime, and a lot of brutal fairy tale whimsy, depicting our lady in the midst of thugs, trolls, and the like.  Always the level head, and always (always), the warrior elite, Sonja maneuvers through the vulgarities that she encounters with her classic She Devil style, maintaining her composure and providing the reader with a lite refreshment after the firm start.  Artist Rich Buckler, though not as visually impressive as Rodriguez’ earlier work, is ample and provides a more traditional touch with Sonja that the reader will recognize and enjoy.

Enter “The Simple Life” written by Luke Lieberman and drawn by Rod Rodolfo.  Going back to Sonja’s roots, we see a family taking a young Sonja into their humble home after finding her freezing and near death, fresh off her village’s massacre.  The family is kind and help to nurse her to health.  But something is amiss regarding the family’s only child, a son who seems not to appreciate those good things of life that he has.  You know that Sonja has something to say about that.  What we see in this story is a lesson building that also shows a side of Sonja that has been a part of her character for some time.  The ability to command respect and show mercy at the same time.

With “The Hanging Tree, written by Gail Simone, the reader gets a story in line to the current evolution of Sonja.  One where she is set up for a crime that she didn’t commit by a town of dandy’s who have some offense to the She Devil’s more “basic” ways of manners.  Sentenced to die, Simone writes the tale with a mixture of direct dialogue and thoughts from Sonja depicting the man of whom she is accused of murdering and the action at large.  This She Devil Sherlock Holmes tale is the best written one as we see Sonja matching her wits with those who feel and believe that they are superior to her.  They are not needless to say.  I was a little put off by the art of Kewbar Baal as the depictions of our lady is much different from the other stories.  Don’t get me wrong.  The art looks fine.  It just seems, I don’t know, different.  It might just be that I am so used to seeing Walter Geovani on the monthly drawing Simone’s words.  So I don’t fault Baal at all.  I think that I am just crazy maybe.

Red Sonja writing newbie David Walker tackles a subject that we don’t see our She Devil in too terribly much, that of a slave.  In this tale, entitled “Arena of Dread” we see how Sonja doesn’t play well with others.  Or at least she doesn’t play well with sick and disgusting overweight despots who desire our lady for his pleasure.  Upset with her insubordination, he places her in the arena with the aim to destroy.  Things play out and we get a story that though covered by a newcomer, shows a strong knowledge of who Red Sonja is and in what she is about.  The ending is pleasing to say the least.  And the art by Belquis Evely is solid in both the fluffy palace settings as well as the bloody and brutal arena.

The final tale, Silent Running is a rather simple story covering Sonja’s day to day battles with adversaries.  Not a single bit of writing is depicted, but a framing sequence is used to achieve kind of a montage feeling of intense action in a very short period of time.  I am not so sure what kind of credit that also Sonja newbie writer Cullen Bunn should have since there is no dialogue.  But one look of Jonathan Lau’s art, and you won’t care.  Lau’s renderings are absolutely off the chain, wiping out the reader with some incredible stuff and allowing a perfectly placed wrap up for a very good compilation.

So after reading these six tales of Sonja the woman, Sonja the myth, and Sonja the legend, I found Red Sonja #1973 to be one solidly put together piece of graphic literature.  For the price of $7.99, you get 50 pages covering 42 years of history.  All are well done and all are crafted with passion, precision, and purity I would say, covering a woman who is much more than a “Russian hell cat” or a metallic bikini clad warrior.  This compilation sets a very high bar for any future ones that may follow.


Score: 5/5


Red Sonja 1973 Writers: Eric Trautmann, Roy Thomas, Luke Lieberman, Gail Simone, David Walker, and Cullen Bunn Artists:  Ivan Rodriguez, Rich Buckler, Rod Rodolfo, Kewbar Baal, Bilquis Evely, and Jonathan Lau Colorists: Marcio Menyz, Arison Aguiar, Bilquis Evely, and Ivan Nunes Publisher: Dynamite Entertainment Price: $7.99 Release Date: 7/15/15 Format: One Shot/Print Digital

Players Battle Across New Planets in the “Worlds in Conflict” Expansion for Star Wars: Commander

Disney Interactive and Lucasfilm Ltd. today released “Worlds in Conflict,” the largest update for Star Wars™: Commander since the launch of the game. For nearly a year, Star Wars: Commander has brought storylines, characters and battles to mobile with this strategy game, nearing almost 18 million downloads from fans and gamers across the globe. Now, with a brand new design and Galactic Map, Star Wars: Commander has released the #1 most requested feature to the game, allowing players to relocate to, and battle across several iconic worlds in the Star Wars™ universe, spanning Hoth, Yavin IV, Dandoran and Er’kit in addition to the current planet of Tatooine. Fans will engage in new Planetary Conflicts for PVP victory bonuses and new planetary missions that will be introduced over time.

Important new features of the “Worlds in Conflict” update include:

  • World Relocation – The Planetary Command building, which unlocks at HQ5, allows players to choose from up to four additional worlds to scout out and move to – Yavin 4, Hoth Er’Kit, and Dandoran.
  • Galaxy Map - Part of the Planetary Command building, this map of the greater galaxy provides tactical intel on each planet and allows players to circle through and decide which planet to engage battles on.
  • Updated Play Menu - This updated menu will surface information relevant to each world, such as friends and squadmates on the planet, conflicts and events, as well as chapter progress.
  • Planetary Conflicts - Players compete in PVP tournament-style planetary conflicts on a rotating schedule between the added worlds. Victory bonuses are given to the faction that wins each Conflict.
  • PvP Victory Loot Bonus - Placement in a medal tier at the end of a Planetary Conflict rewards loot bonuses. For a number of days after the conflict, earn bonus loot for victories against in PVP.
  • Planetary Leaderboards – PVP leaderboards will now allow a player to see their own rank as well as the top 50 Commanders. There will also be Planetary specific leaderboards so players will know their standing on their planet. Players will also now know when they’ve received donated troops, and from whom they were donated.

Players can join the battle for control of the galaxy by downloading the game from the Apple App Store or Google Play.

STAR WARS and related properties are trademarks and/or copyrights, in the United States and other countries, of Lucasfilm Ltd. and/or its affiliates. © & ™ Lucasfilm Ltd.  All rights reserved.  All other trademarks and trade names are properties of their respective owners.

Neurobellum Productions Announces Hugo Broyler

If you haven't noticed we're not featuring a lot of Kickstarters anymore so that we can really deliver some quality projects for you to check out. Today we have one from Neurobellum for you to check out.

Kickstarter Link!

HUGO BROYLER is a tech-noir thriller set in a future where the top sport in the world is Static Velocity Levitation Racing, an internationally sponsored competition in which both mega-corporations and sovereign nations vie against one another for global market share.  Frictionless cars streak by at ludicrous speeds, controlled via neural feeds that allow drivers to steer with sheer instinct and impulse. Racers risk life and limb for fame and fortune, all in service to the glory of their sponsors. And the trophy for second place is as attainable as a closed-casket funeral.

The project is billed as “a high-speed, sci-fi, grindhouse graphic novel”, and we’ve gotten a pretty killer list of top-shelf artists contributing pieces for the book, including a cover by Eduardo Risso (100 Bullets):

  • Rafael Albuquerque (American Vampire, Blue Beetle)
  • Leandro Fernandez(Punisher, Hulk, The Names)
  • Marcelo Frusin (Hellblazer, Loveless)
  • German Peralta (Moon Knight, Axis: Carnage)
  • Max Fiumara (BPRD, Abe Sapien)
  • Renato Guedes (Wolverine, Superman)
  • Caio Oliveira (Super-Ego, No More Heroes)
  • Bengal (Batgirl, Naja)
  • Djet (Poet Anderson)
  • Matteo de Longis (VOX)
  • Francisco Ruiz Velasco (Pacific Rim, Hellboy)
  • Nathan Fox (DMZ, Haunt, Blue Estate)
  • Ben Caldwell (Prez, Dare Detectives)
  • Ben Templesmith (30 Days of Night, Wormwood, Squidder)
  • Zach Howard (Wild Blue Yonder, The Cape)
  • Daniel Warren Johnson (Ghost Fleet, Space Mullet)
  • Bryndon Everett (The World of Cassyno)

Romark Entertainment Snatches Rights to H.P. Lovecraft / Nikola Tesla Comic Book Series HERALD

In a partnership with Markerstone Pictures, Romark Entertainment has secured the rights to the critically acclaimed comic book series HERALD. The series, published by Action Lab Entertainment and created by writer John Reilly, and artists Tom Rogers and Dexter Weeks, tells the story of Nikola Tesla, whose experiments with time travel thrust him ahead in time to the early 1900s, where he must team up with a young H.P. Lovecraft as part of a secretive group combating humanity's greatest threat, the Cthulu Order. Two sides of the same coin, this contentious pair must navigate a dangerous and forbidden world of frightful secrets, cosmic nightmares, and unspeakable horrors in a quest to save the world. The series, which will interweave the worlds of science and magic, also features appearances by iconic characters such as Albert Einstein, Amelia Earhart and Harry Houdini. Romark’s Rock Shaink and Markerstone’s Mark Lawyer will produce the project, with Joseph New set to oversee for Romark.

Romark is currently producing “Earthless” alongside Ridley Scott and Brooklyn Weaver at Fox, “Paradox” alongside Tim Kring at Imperative, “Matriarch” alongside Red Wagon for Paramount, and the upcoming television series “Winter” which they are developing with Demarest TV. In June, their Sundance hit “Bound to Vengeance” released in theaters and on VOD from IFC Midnight.

HearldMarkerstone setup the thriller “Padre” at Screen Gems, is producing the Irish indie “Brighter Nights” with Fueld Films and is currently gearing up for production on the action/thriller “Backtrace” with Myriad Pictures.

Founded in 2010, Action Lab Entertainment has since launched a number of acclaimed series’, including the Eisner Award nominated series “Priceless” and the comic book reimagining of Charles Band’s 80s cult-classic “Puppet Master.” Known for catering to both family friendly and mature audiences, Action Lab will next launch Actionverse, a ground-breaking crossover series for their library of characters.

Herald writer John Reilly is a writing professor, with a PHD in English and a fondness for all things historical. Artists Dexter Weeks and Tom Rogers have worked on series such as “Avengelyne,” “Koni Waves,” the “Ordinary Days” anthology series and “Calavera de la Justicia”

Review: Postal #5

It’s been a minute, Postal, but indeed much like a parcel you’re really looking forward to receiving, better late than never...which, upon further reflection, should totally be this book’s subtitle. I digress. If you haven’t been keeping up with this series, which is the coming of age story following a young autistic man named Mark as he navigates the perils of a town secretly peopled by thieves, murderers and other assorted charlatans, you should be. It is absolutely one of the best things currently under the Image banner, which is saying quite a lot. This issue, however, is something of a divergence; quite literally, in fact, as we follow Mark on a road trip set up by his mother, Mayor Shiffron, to pay off the local branch of USPS in exchange for his bastard little town’s continued anonymity. On the way back, however, Mark finds himself sidetracked by a pretty hippy girl with a gun (been there), and her zealous, bull mask-wearing cult leader, Ball. The majority of the issue that follows captures this weird little confab, and while it does boast the strokes of brilliance that have become hallmarks of the series, I’m still not sure how I feel about its direction.

This seems like a strange setup for Postal #5, not just because it takes Mark out of the town, or because it puts him into a role of power (and, indeed, judgement), but because his coincidental meeting with what is essentially a super villain feels...off somehow, and not in keeping with the series’ general direction. And look, I know that he comes from a town literally populated by every conceivable kind of criminal, and that his father is himself a cultish figure of abnormal stature, but that begs the question: why take him out of his pre-established setting, just to meet another kind of evil?

Not only does it feel like Postal #5 took a wrong turn somewhere and veered into another comic book, but because it tripped into a place both grim and fantastical, it sort of takes away from what makes the town, and all the threats within it and converging upon it, so special and terrifying. If the world is filled with proselytizing wannabe minotaurs, then what’s the point of Mark’s story?

Postal-#5Saying all of that, however, and despite my misgivings as regards plot, the dialogue we get in issue five is par excellence for the series. Whether it’s the conversation shared by Mark and Ball, or even the former’s inner monologue as he forces himself to tap into a violent destiny (which culminates in quite an intriguing character development), Hill and Hawkins’ style is filled with both an organic ease and palpitating menace. The way they are able to evoke a scene with descriptions so vividly detailed, so wetly described in Mark’s stilted yet poetic cadence is gripping stuff.

At the same time, Isaac Goodhart shows some great industry here in broadening his style, especially in the quasi-flashback storytelling of how Ball came to be who and what he is. And actually, I preferred his more surreal, malleable style in those scenes; their sketchier, frenetic approach feels more naturally suited to his talents, and they definitely worked better beneath Gonia’s colors, which continue to soak the surroundings in gobs of shadow. Yes, this artistic variance suited the scene well, but I would be just as happy seeing it as the pervasive style throughout Postal.

Issue five of this Top Cow/Image joint feels incongruous to the rest of the series’ storytelling, and an odd fit within the overall narrative. Luckily, Postal #5 doesn’t instantly exclude this title from being one of my most eagerly anticipated releases each month. Definitely check it out if you are, like me, already a firm follower of the series, but don’t make it a jumping-on point if you’re a new reader.


Score: 3/5


Postal #5 Writer: Bryan Hill/Matt Hawkins Artist: Isaac Goodhart Colorist: Betsy Gonia Publisher: Image/ Top Cow Price: $3.99 Release Date: 7/15/15 Format: Ongoing; Print/Digital

Review: Godzilla in Hell #1

It is exactly what it sounds like. The King of Kaiju is gone to the depths of the world of darkness and despair. Stokoe is back to (barely) write and illustrate the first issue in this five issue mini series that sends Godzilla into Hell, and he starts it in full atomic blast. If you were like me and were wondering what would he do in Hell other than destroy things that tried to destroy him back, that’s exactly what happens in this issue. Godzilla falls a long way down into the Underworld in a great double splash page that reiterates exactly what you’ll get in this issue, sees the classic “Abandon All Hope Ye Who Enter Here,” warning and proceeds to lay waste to it, thus making 10 the entirety of words used in this issue. Gone is the mostly boring human element that is placed to justify our giant lizard wreaking havoc in some population or city. In Hell there is none of those distractions.

I am a shameless Stokoe fan. Godzilla: Half Century War is to date one of the best Godzilla stories ever told, including the movies. It revitalized the character for IDW. His Secret Wars: Battleworld covers have been nothing short of adorable and fantastic, and I don’t think I’ve met anyone who doesn’t love Wonton Soup and Orc Stain. So to see that he was making a new Godzilla story, I knew it was probably going to be my favorite book of the month, if not my favorite miniseries of the year. That was until I realized Stokoe is only working on the first issue.

GODZILLAHELL_01-COV_ARegardless, I am also a big Godzilla fan, I even love the 1998 film, I know everything that’s wrong with it, I’m aware that is a pretty terrible movie. But I can’t help but love a giant Kaiju in New York. And this being another tale of integration of such an icon from the East into a very Western concept, there is fairly high expectation on this book. With the latent lack of dialogue, one can’t help but make a comparison of this book to Ricardo Delgado’s Age of Reptiles. It is clear that Stokoe has drawn inspiration from this but it revels in the fact that unlike the former, Godzilla has never been known to have heavy plots. This allows Stokoe to play around with the concept and what our monster will have to fight, including a tentacle monster in a representation of a power plant, an enormous cloud of humans, that he may have sent there himself, and even what seems to be a ghoulish clone of himself. Stokoe’s unusual use of colors are noted in this issue as he depicts Hell with vast desert-like tones throughout the title, only breaking to focus on Godzilla’s atomic breath, of the staggering detail on the monster which James Stokoe is well known for doing.

Although Godzilla in Hell may not be a Stokoe epic, he’s definitely set it up for this to be another Godzilla epic. Stokoe uses the Dante Alighieri concept of Hell and took Godzilla through the first level, setting up the scene for the next issue to up the ante even further.

As a Stokoe fan, this is a fantastic pick up for a one-shot comic. As a Godzilla fan, Godzilla in Hell is off to a great start, with different creative teams taking over each issue. If Stokoe was to set the stage, he seems to have picked Madison Square Garden, or The Nippon Budokan.


Score: 4/5


Godzilla in Hell #1 Writer/Artist: James Stokoe Publisher: IDW Publishing Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Review: The Fiction #2

The Fiction brings in two of the greatest genres ever; horror and fantasy. It revolves around a group of friends; Max, Tsang, Kassie, and Tyler. As kids, these four were inseparable until one day they discovered a new world. It definitely has that Lion, Witch, and the Wardrobe vibe, but when you find out that this world is creepy as hell, that feeling soon disappears. When the group was young, Tsang disappears into this world. Afraid to confess the truth to any real adult, Kassie, Tyler, and Max all keep this a secret. And then time moves on. Max moves, while Kassie spends her life trying to find Tsang and get back to that world. Now being grown adults, Tsang and the group never escaped their memories but the emotions come flooding all at once when another member, Tyler, of their group goes missing. It is up to Kassie and Max to find out what really happened in this place and to save Tyler. Diving right into this issue, I and other readers immediately get sucked into this mini-series. You connect with the characters since we have all had that group of friends that just moved on and grew out of the town or of the people. We see a flashback of the kids debating whether to tell the cops or not about Tsang. Kassie, being the clear leader, makes the decision to keep it hidden.

The-Fiction-#2But where this comic really starts is in this different world. Kassie and Max are falling down a rabbit hole, so to speak. Curt Pires starts the issue with some narration. I love when comics end and start with a narrator, possibility one of the characters, reflecting on this event in the present. Depending on what you are writing, it really sets up the mood for the comic. Here, the mood becomes eerie. Speaking of reality and where it exists. And did I mention that in this place the children seem to be disappearing. They are like tiny humanoid blue oceans that drift away with every wave or movement that crashes onto them. The boy who guides Kassie and Max looks like he could fade away and be forgotten at any moment. You don’t know why he is fading away, but all the children are desperate to stay in existence.

Without knowing much about where this plot is headed, you get the sense that there is a disconnect between these once children and the adults of their former town. Otherwise, the purpose the flashbacks seem useless in a way. Or maybe it has to do with this whole kids are innocent but really they’re not. We all have secrets. And I am willing to read on to see what that secret is. The town is holding something back and the group is holding something back. The new world isn’t the only mysteriously creepy thing about this comic.


Score: 3/5


The Fiction #2 Writer: Curt Pires Artist: David Rubin Colorist: Michael Garland Publisher: BOOM! Studios Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Review: King: Prince Valiant #3

I was primed for disappointment honestly.  So far, next to maybe The Flash TV series, nothing has pissed away my goodwill as efficiently or quickly as the Pulpy-verse.  When I read those first issues of Flash Gordon, The Phantom, Mandrake, Jungle Jim I was really ready for what I thought they had planned.  Prince Valiant came along with a luke warm kind of confusing first issue, from what I remember.  It didn’t stand out to me and it’s taken awhile to get these next issues.  In that time I have crossed off each of the above books from the list of things I’m interested in.  In one way or another they have all disappointed me as they squandered any potential they might have had.  Then Prince Valiant came back. Issue 2 starts with a young, time traveling Flash Gordon coming from the future to save Valiant from the demon cave he spent the first issue in.  From there we are introduced to the ACTUAL premise of this book which is Prince Valiant leads a squad of time displaced King-Dynamite characters in a space adventure to save the world.

It’s your basic Avengers Forever formula, which is a great formula actually.  THIS is what the Pulpy-verse should have been all along.  My personal feeling is that these characters should have been slotted into classic comic archetypes, hell some of these characters are the first of those archetypes, and you give them their own books before drawing them together.  The goal should have been crossing them over and drawing them together until you get your super team.  King Force!  Nah… The Monarchy!  I think that might be taken… Royal Flush Gang!  Not on the nose enough…  The Royal Court!  That or King Force, I kind of like King Force (NOTE: After reading Phantom #4 they are apparently called Kings Watch, which is pretty badass).  Anyway, the point being, I think these characters should be together more than apart.  These characters as individuals has been done to death, put them in a team, that hasn’t really been done before.

King - Prince Valiant #3So that’s our book, time displaced King Universe characters assembled to fight an evil.  If I were to guess it would be a young Ming, which I’m down for.  Our team consists of Prince Valiant, teen-age Flash Gordon, Mandrake in a raptor, Pirate Phantom, an old lady Karma and Mandrake nemesis Acheron who is the embodiment of all evil.  It’s a pretty solid team, the characters, while arguably not three-dimensional, are at least different enough from each other to be interesting.

Young Flash is funny, not really written well as a teenager, but funny and he already has an interesting dynamic with Pirate Phantom.  Pirate Phantom isn’t afraid to engage with Young Flash even though he doesn’t understand anything Young Flash says there is some respect from Phantom for Flash’s athletic ability and fighting prowess.  Also of all the Pulpy-verse characters, Mandrake is probably the most well written across the board coming across as smug and smart ass in every appearance.  In this book he provides some pretty funny and well done character moments, adding levity when needed.

The story has my attention, the art is serviceable and I’m actually interested in the Pulpy-verse again after being so incredibly disappointed by the other books.  I’m hoping they stay the course with Prince Valiant because it has an incredible amount of potential just waiting to be tapped.


Score: 3/5


King: Prince Valiant #3 (of 4) Writers: Nate Cosby/Ben McCool Artist: Ron Salas Colorist: Luigi Anderson Publisher: Dynamite Entertainment Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Review: Adventure Time: Fionna & Cake - Card Wars #1

The Card Wars tournament is coming up and Cake wants in. Well, what Cake really wants is a worthy opponent, as Fionna has yet to fully grasp the game. But when they stumble upon the tournament, it seems to be fate. Card Wars #1 kicks off a new Fionna and Cake mini-series, and it promises some new challenges and good entertainment. Fionna gets tired of losing to Cake- she chooses her cards based on cuteness, whereas Cake chooses based on strategy, so why Fionna’s losing is truly a mystery. Desperate to get out of a potentially lengthy game night, Fionna suggests Cake try to find someone new to play with.

The Ultimate Game Time Club folks are reluctant to allow a new member in. Strike that, they outright refuse to allow a new member in. It’s an exclusive, slugs-only club, you see. But Cake’s determined, and she knows she’s good enough- if only given a chance to prove herself. And it’s only because of dire circumstances that Cake gets that chance.

AT---Fionna-Cake---Card-Wars-#1Other noteworthy moments include the UGTC slugs’ borderline creepy obsession with Lumpy Space Prince (I’m being nice when I say “borderline.” There’s a shrine.), the Ice King’s maniacal game of Card Wars against Gunter, and Cake morphing into a slug-like form.

This was a good set-up for what seems to be a fun mini-series, and I know fans of Fionna and Cake are eager for more of this duo’s adventures. Card Wars is an animated and dynamic game that goes beyond the cards, and among the plays is a literal tornado wall of fire. I absolutely want in on a game where you can play a literal tornado wall of fire. This is what dreams are made of. This game is appropriately dramatic and extreme and Wilson brings it to the page nicely, as well as the melodramatic moments peppered throughout the issue- a dramatic gasp here, an extreme close-up there, and let’s not forget the “dramatic fling.” It all suits the storytelling perfectly, and makes Card Wars a fun and endearing read.


Score: 3/5


Adventure Time: Fionna & Cake - Card Wars #1 (of 6) Writer: Jen Wang Artist: Britt Wilson Publisher: BOOM!/Kaboom! Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Review: King: The Phantom #4

Before I get into the book proper the prologue had me thinking about something.  First off the book opens with an amazing prologue.  It is a drastic art change and very welcomed, I was kind of hoping for a new tone for the series because this art was dynamic, bright, it was big, it felt superhero-y.  I really liked it, it was a brief glimpse into the Kings Watch (King Dynamites super-team) taking out Ming and the sacrifice of the last Phantom.  But in that prologue it mentions the Walkers and how white guy Walker ended up in Africa and created a line of white guys who protected Africa.  Does anyone else find that a little fucked up?  Clearly the writers of Phantom think that because it does get concept checked at the end of the issue. As for the issue proper.  I don’t know man.  They’re keeping the cut-aways, which is fine because they are mostly funny and it is something the book does well but as a result they’re keeping the weird time displacement of flashing forward in order to flashback.  I don’t know if you necessarily need to do that to facilitate the cut-aways.  I feel you could present a scene and then by introducing a cut-away you establish something happening earlier.  I don’t really know if you need to jump around in time so much.

However, the character writing is still solid, the story writing was a bit thin, the premise kind of rushed. I think, to hide the flaws.  But the characters each have their own voices and personalities and they are all likable which is appreciated.  At the end of the issue you have black African Lothar, white American Jen and native Bandaran Guran standing side by side with Lothar stating that “We are the Phantom” which is a nice little symbol of unity.  By the end, the book kind of recognizes how weird it is that a foreign white guy has always been the protector of Africa and provides a new, united, multi-racial/multi-cultural protector.  I liked it anyway.

I do want to talk about the art though.  That opening was great, it was everything I said above.  It just totally changed my feelings towards the book, I immediately began to re-think my opinion of the whole series because I’m easily influenced like that, I react well to visual stimuli.  Then we crash landed to the same old art and it made the regular art feel so grey and colorless.  It made me really notice things that I may not have noticed before.

King - Phantom #4There is a crowd scene in a boardroom and the artist just neglects to draw faces.  Faces of people we should recognize and in one case a face of a main character with a speech bubble.  The basic outline of that person tells me it might be Jen and the voice bubble is communicating something plot related that only one of our three mains would know so it must be her, but I wouldn’t know that if I wasn’t paying attention.  I don’t like having to notice the mechanics.

When something is done well, in my mind, it flows like a movie.  I don’t notice the panels or pages, I don’t notice the speech bubbles or the onomatopoeia but I do notice when something pulls me out of that Zen.  After seeing that great art at the beginning I really started to see how frayed and drab the regular art is.  It just seems that the only colors are muted browns, blues, whites and purples.  Not even vibrant versions of those colors, just echoes of colors.  In my head it just feels very monochromatic almost.  Having said all that I can barely draw a stick figure so I feel like an asshole telling a professional I don’t like his art.  Dudes got a job so he’s doing something right.

My final thoughts on this book is that it’s had four issues to get it’s shit together and just now I’m kind of seeing some shit come together.  There isn’t really enough here for me to recommend this book unless you’ve been following along the whole time and it doesn’t carry enough weight for me to recommend getting back issues to get caught up.  The writing and art are serviceable, I enjoyed my time this month with The Phantom but is it enough to draw interest?  I would argue that it’s not, but with the end of this arc perhaps a new arc with more purpose will draw that interest.


Score: 2/3


King: Phantom #4 ( of 4) Writers: Brian Clevinger/Jeff Parker Artists: Ryan Cody/Marc Laming Colorists: Robt Snyder/Jordan Boyd Publisher: Dynamite Entertainment Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Review: My Hero Academia – Vol. 1

If there is one genre of comics that’s overcrowded its superheroes. In fact, I would argue that in the early days of widespread manga in America it was the fact that they weren’t superhero stories that made them so popular. The strange thing is that being a manga fan doesn’t necessarily mean you’re a comic fan and vice versa. For me, comics are comics. As for superheroes, well I’m basically burnt out on them. I’ve read so many that it’s really hard to excite me with the eternal battle of good versus evil. I basically try to avoid the genre as much as possible, but it’s impossible to ignore it all together.

The funny thing is, I didn’t want to avoid My Hero Academia. I was curious for the first time in a long time for a superhero title and I think it was because it was from Japan. That’s not to say that Japan doesn’t have superheroes, but that they tend to be different and branded differently. But here was My Hero Academia, a Japanese superhero title.

my-hero-academia 1The premise of the story has two well-worn plot devices if I’m completely fair to the story. The world is filled with people with powers. To the point that everyone basically can be a superhero or villain, but there’s only so many positions open so a lot of people just have “quirks”, which is what they call powers in the story. The other device is a superhero high school. Which again isn’t new, but it’s handled in a fresh way.

The story follows the “quirkless” Izuku. He’s a middle school student with no powers basically, but he’s obsessed with heroes to the point that he can shout out their stats while watching them battle in the streets. Even without a quirk he still wants to be a hero which annoys one of his classmates to no end.  When their teacher points out that they’re applying for the same high school, which happens to be the top hero school and incredibly difficult to get into. This sets Katsuki off on Izuku and we see how belittled Izuku feels as he’s treated poorly for not having a quirk of some kind.

Everything changes though when a villain attempts to harm Izuku and his idol and the arguably the greatest hero in the biz, All Might, steps in and saves him. Izuku latches on to his leg and asks All Might if he could ever be a hero without a quirk and his idol tell him no. This is the final straw that breaks Izuku’s back, but as he heads home he sees the same villain taking control of Katsuki’s body. While everyone else is on standby waiting for a hero that can properly deal with the villain to show up, Izuku jumps to action and shows that even without a quirk he has a heart of a hero.

Izuku’s reckless actions change his destiny as All Might shows up in his alter ego and tells him he’d like to pass his quirk on to him due to the heroics he displayed despite his disadvantage.

The story continues from there, but even though a lot happens and a lot of ground is covered it still feels as if the story is just getting started. As you may have guessed, Izuku does get the power passed on to him, but it doesn’t turn him into an invincible powerhouse. Rather he can’t really control the power and injures himself using it. Personally that’s what I really liked about My Hero Academia because so often superhero titles just give someone powers and have them master it two pages. Instead, Izuku has a long road ahead if he’s going to even be able to control his power and a longer road to master it. It was very believable and All Might even tells him that it will be rougher for him because he didn’t have a quirk beforehand.

My only real gripe is that because this is a weekly serialized story, it has a very continuous nature to the reading. While that’s pretty much the norm for manga, for this particular volume it leaves the story in a very anti-climactic setting. I’ll still be back for more, but it wasn’t because the ending left me wanting more.

Now I’ve read a fair share of manga, but there’s definitely a few styles that I’m drawn to more than others. The style for My Hero Academia is one that I’m not big on. The hair is huge and wild and at times it has a slapstick comedy look to it. At first I wasn’t sold on all of it. The heroes looked great, but the rest was kind of goofy.

About half way through though, I dug the art. I liked that certain characters where almost intentionally illustrated differently. All Might in particular is done in a more American superhero style and there’s even some jokes about it in the background of the comic. There’s a lot of variation at times, but in the end it all adds to the character of the world and the story.

This is probably one of the first manga I could offer to an American comic reader and have them enjoy it. I don’t have to say what genre it is or what it’s like, I can just say it’s a superhero story and have them enjoy it. Maybe that’ll get them to check out more manga that isn’t superhero themed, but then that logic doesn’t even work on American comics so probably not. What I can say for certain is that anyone that reads this book is sure to enjoy it because even though there are familiar elements, at the end of the day they’re combined to form something new and the way they’re handled is very endearing. If you’re a fan of heroes or underdog stories, you’ll be a fan of My Hero Academia.


[button btn_url="" btn_color="teal" btn_size="large" btn_style="default" btn_outlined="no" link_target="blank" link_rel="" icon_left="" icon_right=""]Score: 4/5[/button]


My Hero Academia – Vol. 1 Story & Art: Kohei Horikoshi Publisher: Viz Media/Shonen Jump Comics Price: $9.99 Release Date: 8/4/15 Format: Trade Paperback; Print

Review: Fresh Romance #1

Nothing is more frustrating to write than a review that falls dead in the middle between praise and dismissal. A comic that fails to summon any sort of strong emotional reaction one way or the other doesn't spark the specific passions, leaving a critic left with simply handpicking words to express mediocrity. However, while I find myself unable to champion or denigrate this book, I can't say that it didn't also impress me in many ways. This book isn't even close to terrible, but its weaknesses do distract from its strengths. Fresh Romance is a new indie attempt at putting a modern spin on the now firmly nostalgic romance comic anthology genre. However, instead of the traditional short one-shot stories, Fresh Romance instead gives us the first chapters of ongoing serials. In some ways this is smart. Anthology writing is tricky, requiring a writer to pull out of their reader some pretty strong emotions in a short amount of time. Accomplishing that with the romance genre, with love and relationships being particularly hard to authentically communicate, is a considerable challenge. Given the space of a serialized story lets the writers stretch their legs out a bit and potentially richly explore relationships with greater detail.

Fresh-Romance-#1However, the biggest weakness of Fresh Romance is the writing. While capable and never irritating, not one of the stories seems to be tailored for the anthology format. 'School Spirit', about a sexy spider web of high school relationships, feels like it's missing pages, or even whole issues, worth of set up, leaving us trying to decode motivation or even establishing relationship between our various players. 'The Ruby Equation', about a secretly extraterrestrial barista doing double duty as a cupid for human relationships, is cute and creative, but has the least real romantic chemistry. 'Ruined', involving a young Victorian woman about to enter a loveless arranged marriage, is by far the best written, dehumanizing and genuinely tragic.

However, 'Ruined' still shares a strange flaw that carries through all three stories, which is not one has a proper ending for a serial. While all have set up to allow for expansion, every story just ends without a true hook. 'School Spirit' didn't give me enough information to understand where the story was going, 'Ruby Equation' sets up a great idea for a continuing story but then ends a few panels before it should to hook us in, and 'Ruined fails to tie the hook from the first half to the end of the second. All three stories leave us adrift, not proper self-contained stories, but also not properly set up to be continued. It's frustrating because I really wanted to like all of it, but felt a lack in an editorial hand hobbled potentially entertaining stories.

However, the art is where the book shines. All three stories are not only well-illustrated; it stands as some of the best art I've seen in an indie anthology. Arielle Jovellanos' work on 'School Spirit' is clean and charismatic, boosted by Amanda Scurti's bright pop-art colors. Sarah Winifeld Searle's art on 'Ruined' has exceptional linework, devoid of cluttering detail, and colored with solid tones of pure delicate color. Sally Jane Thompson's art on 'Ruby Equation' has great character as well, expressive and natural.

These aren't crap stories with great art, they are stories very close to being good but failed in formatting, and only in the case of 'School Spirit', a confused plot. What I do like is that none of these stories are impossible to recover in the second issue, and I would look forward at least in the case of 'Ruined' to see where the story goes. From a purely aesthetic standpoint, Fresh Romance is absolutely worth your money. It is a rare indie anthology that looks this flawless from cover to cover. However, specifically writing for this format, the book was mildly bungled. Whether a challenge for the editor or for the individual writers, it's the only roadblock in the way of this book being a standout entry in the modern romance anthology genre.


Score: 2/5 


Fresh Romance #1 Writers: Various Artists: Various Publisher: Rosy Press Price: $4.99 Format: Ongoing; Print/Digital

Review: Ultraman - Vol. 1: This Is the Beginning of a New Age

Ultraman was one of the first things from Japan I was ever exposed to. I had a plastic Ultraman figure growing up, it didn’t have any articulation, but I loved the hell out of that figure. From that point on I tried to find and digest as much of the franchise as I could and until the arrival of the internet, that was pretty difficult. Since the internet, I’ve become lazy in my hunt for all things Ultraman. When I saw that there was a new Ultraman I got excited because just look at that art… no seriously look at that art… drool. That’s right I was sold on this just from the cover art because that was the sickest looking Ultraman I had ever seen!

As for the story it’s been kind of billed as a reboot of sorts and I guess that’s fair, but in a way it’s not. It acknowledges the past, in fact the story beings by explaining the past and it feeds heavily into the new story. Without spoiling it, I’m going to say it’s pretty brilliant how they do it.

Now as I said, the story begins by explaining a bit of the past. That Ultraman the alien, finished his mission and returned to space and his human host lost all memory of the event and returned to a normal life.

New UltramanWe pick up with that normal life as our former Ultraman Shin Hayata, now the Defense Minister, as he takes his son Shinjiro to visit the Giant of Light Memorial Museum aka the Ultraman Museum. Shin runs into a former SSSP (Science Special Search Party) team member and while they’re chatting Shinjiro falls over the ledge and lands three stories below. Rather than freak out that, Shin wants to take his son home because he knows that he’s okay. Soon it’s reveals that Shin and Shinjiro are both have residual effects from Ultraman’s visit. Shin goes back to talk to his former teammate and he reveals that he thinks he might have been Ultraman, to which his teammate assures him that he was and that the SSSP is still functioning.

The story jumps further in the timeline as we follow Shinjiro who is now in high school. He has a tight group of friends, but love alludes him because he’s begun to figure out he’s different. We find him testing his powers and you begin to wonder if his dad ever told him about them before. Eventually father and son come face to face as a new threat attacks Shinjiro trying to destroy him because of the power he contains.

The action in this story is great. Aside from just being wonderfully illustrated, the scenes are very kinetic and alive. There’s a real sense of motion to the movement. When the fighting expands and begins taking down structures it’s an impressive scene of damage that thankfully doesn’t have any civilian casualties.

Overall the story is pretty damn great. Again, I don’t want to spoil what happens at the end. While its nothing huge and kind of obvious, it’s still a pleasant surprise. The writing is spot on with the characters and the pacing is very tight. Each scene lasts as long as it needs to without it being too long or too short. The balance for the writing is perfect from beginning to end.

Obviously what helps this story a lot is the artwork. Even though we spend a lot of the story with Shin and Shinjiro in civilian clothing, the Ultraman moments are eye catching and worth the wait. It’s that special treat that has always made Ultraman great. If you spent all the time with Ultraman, the novelty would wear out.

The linework is very detailed and there’s not a single panel that I would describe as lazy or rushed. This story is detailed and cared for from beginning to end. The collected volume has some colored pages at the beginning and let me tell you… it’s gorgeous! If those became a poster I would buy them. Hell if it was a blanket pattern I would buy it.

I wasn’t surprised by how good Ultraman Vol. 1 is; if anything I was just surprised by what they chose to do with the story and the direction of the universe. Ultraman has always been good and this new series has pushed it to a new level making for a great new story to enjoy whether you’re a new or old fan of the franchise. Personally I’ll be waiting patiently for the second volume and look forward to following the new Ultraman for years to come.


Score: 5/5


Ultraman - Vol. 1: This Is the Beginning of a New Age Story & Art: Eiichi Shimizu, Tomohiro Shimoguchi Publisher: Viz Media/Viz Signature Price: $12.99 Release Date: 8/18/15 Format: Trade Paperback; Print

Review: Book of Death - Legends of the Geomancer #1

As Valiant’s excellent new event series Book of Death debuts, so too does it’s first tie-in – and as is the case with many tie-ins, it has very little, if anything at all, to do with the main story. Indeed, if you were thinking of picking up Legends of the Geomancer to ensure you get the full story behind this latest event, then rest assured that you really don’t need to. This book seems to be telling a story that is relatively self-contained, with the inclusion of ‘Book of Death’ in the title presumably there only to increase interest. With that said, this is a pretty solid comic-book and although you don’t need to read it, if you’re a Valiant fan with room on your pull list you might want to give it a try anyway. Full disclaimer: the cover to this comic book is very misleading. It features prominently both the late former geomancer Kay McHenry, and the iconic Valiant hero the Eternal Warrior – neither make an appearance here. Instead, this book is all about the story of the first ever geomancer, Anni, who at the beginning of this issue is a prisoner being led by her tribe to her execution. Her geomancer powers have led to her being branded a witch, and this opening issue shows her desperate attempts to save herself. The issue sets things up well, giving us a rough idea of the hierarchy of the tribe, their beliefs, and a big hint as to what Anni will go on to do. Still though, I’d be lying if I said I was super-pumped for the next issue.

BOD-GEOMANCER_001_COVER-SAUVAGEDon’t get me wrong, this opening was entertaining and leaves Anni in an interesting position going forward. But, it just didn’t quite grab me in a way that other Valiant debuts have in the past. This I put down to the characters lacking much personality; aside from Anni herself who shows some promise, every other character in this book can only really be described as “generic tribesmen.” This is particularly surprising as writer Fred Van Lente has crafted many fantastic characters in his previous work. Additionally, while entertaining, it could be argued that at this point this story is a little basic and it’s unclear where it will go for the remaining three issues.

Still though, this doesn’t justify dismissing the issue completely as there is fun to be had here. But, it is hard to get fully invested in a story when its characters are for the most part quite bland. Still, while the characters leave a lot to be desired, there’s no denying that they are beautifully illustrated by Juan Jose Ryp. Indeed, the art in this book really brings this ancient world to life, with many panels and pages looking truly stunning. The colours by superstar colorist Jordie Bellaire play an integral role in this, and help to generate the desolate environment Anni and her tribe journey through.

Legends of the Geomancer #1 is a solid debut for this new mini-series, but sadly is far from a must-buy. The main character of Anni is interesting, and I look forward to seeing if she has any connection with the modern-day Valiant Universe. However, the other characters at this point are very bland, and the story itself doesn’t quite hook you in enough to warrant much excitement for issue two. Those only interested in the series due to it sharing a title with Valiant’s blockbuster 2015 event need not apply, as the connection to the main storyline is almost non-existent in this issue. Meanwhile, those enticed by the book’s cover should be warned that not one of the three characters featured on it appear in this issue. Ultimately, I’d say this issue is only for devoted Valiant fans, or those with a specific interest in the origins of the Geomancer. If you identify as either of those, then this issue may well be one to watch.


Score: 3/5


Book of Death - Legends of the Geomancer #1 Writer: Fred Van Lente Artist: Juan Jose Ryp Colorist: Jordie Bellaire Publisher: Valiant Comics Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Group Review: Book of Death #1

Hey its event book, group review time! That’s right whenever a decent event book releases we here at Comic Bastards like to gather up and much like last week’s Archie #1 release, give our separate opinions and review scores. So that’s what we’re doing for Valiant Comics’ Book of Death which looks to shake up the foundation of the Valiant Universe. Let’s see what everyone thought of it.


DAVID: 5/5

BOD_001_COVER-A_GILLSince their relaunch back in 2012, my love for Valiant Entertainment has gone from strength to strength as almost every comic they publish is a real gem. This remains the case for the publisher’s latest event Book of Death #1; arguably their most ambitious story to date due to juggling different time periods and a large cast of characters, there was a lot of potential for this series to fall flat. Fortunately, judging from this opening issue, Valiant has pulled it off again delivering blockbuster action alongside a thought-provoking story.

Pitting hero against hero is a plot device we’ve seen a lot in comic-books recently, but in Book of Death we see it done right. There’s a real reason for these heroes to be taking opposing sides, and the best part is I can easily see the argument from both perspectives which makes things very engaging. Writer Robert Venditti juggles this part of the story, while introducing a mysterious threat that it seems will take a back seat until the story reaches its end. The artwork by Robert Gill and Doug Braithwaite is very good throughout, with Braithwaite’s depiction of the Valiant Universe post-calamity proving to be utterly gripping. Ultimately, Book of Death #1 does everything that a first issue should do, and leaves me wanting more. I only hope that the series, and indeed Valiant Entertainment as a whole, can sustain this level of quality going forward.


NICK: 3/5

It’s that time again, the middle of summer, when the big comic companies want us to jump onto a crossover event that they’ve concocted to boost their sales. DC jumped the gun a couple of months ago with Convergence, Marvel is slaying right now with Secret Wars, and Valiant has just arrived with Book of Death.

As some of you may remember, I was an enormous fan of The Valiant this past December-March, because it broke the mold on the usual event comic: there was a clear villain who attacked right at the beginning, clear reasons for why each character was doing what they were doing, and a clear end point when everyone could go their separate ways. Book of Death lacks the clear antagonist, though it is heavily hinted at, and since reading the solicits, the plot has seemed thin to me. A lot of this is because I remembered Gilad pulling a new Geomancer into our time, but I don’t remember there being much of a to-do about her bringing a book with her, much less the rest of the planet being terrified of it.

BOD_001_COVER-B_NORDFor a first issue of four, this one does set up a good amount of the conflict, but I still felt like I was adrift between things that had already happened and things that Tama has read in the Book of the Geomancer. I have a vague idea where to plant my feet, and the parts of the ground that I can touch seem super interesting, they’re just not interesting right now.

Gill and Braithwaite’s art is pretty outstanding, however. They get across simpler moments as easily as they do the horrifying massacres, piercing trees, apocalyptic hellscapes, that sort of thing. The art feels polished, which isn’t always the case in an event, and it is appreciated by this reviewer. The lettering font by Dave Lanphear feels a little cartoony for this storyline, but you get over it pretty quick--it just feels a little rounded and light for such a dark story.

This was a book that I wouldn’t have felt bad for buying, but it wouldn’t have been the top of my stack. For those Valiant fans amongst us, especially ones who have been following UNITY (it seems like that’s the storyline to watch, since I haven’t seen any new Eternal Warrior stories since The Valiant), this is a solid new entry. It’s not as good a jumping-on point as The Valiant, but it’s a solid read, and I think it will shape up to be an enjoyable story. I’m willing to wait and see.


DUSTIN: 3/5

Ninjak basically saves this issue, but then Ninjak can basically save anything he’s in. I really like the premise for this series and a lot of the moments where great, but the problem I had with it was that unlike other Valiant events, this one felt like it required previous knowledge of their stories. The other problem was all those moments. They kind of felt disconnected and didn’t exactly flow together.  It’s almost as if the story needed more pages to bounce between and flesh out the story.

BOD_001_VARIANT-ICONS_PEREZOn the art side of things, it’s good. Like really good. That’s not really surprising considering there’s rarely a Valiant title with weak artwork. Both Gill and Braithwaite bring their A game and it’s clear that Valiant gave them enough time to deliver some of their best work. That’s surprisingly rare on any book, let alone an event book, but then that’s why Valiant continues to be a stand out comic company in my opinion.

Overall I liked it a lot. Since I am following all of Valiant’s books I’m looking forward to see how this will shake everything up, because it will. Valiant hasn’t pulled a single punch or hyped an event just for sales. Harbinger War had big ramifications and set the universe on a different course. Armor Hunters did the same and of course there was The Valiant which pretty much set everything up for Book of Death. And while I’m giving this an average score it’s only because I think it’ll be better going forward and even then it’s leaps and bounds better than the “big two’s” summer events.


ANDRÉ: 2/5

It took me a while to sift through my thoughts on the premiere of this Valiant universe comic because I wasn’t sure whether I was just being a jerk about it in my initial reading. In that first reading, I found the comic a pretty generic start to what’s meant to be a course-altering series for the usually inventive and engaging Valiant Universe. Anyone who’s read publisher-wide crossover event comics from the Big Two won’t be surprised by anything they see here. You got your Chosen One from the far-flung future. You got the Believer who thinks the Chosen One can save humanity, and then you got the Doubters who oppose the Believer in spite of him being one of their closest allies. It’s one of five basic premises for an event comic, and not much has been done here to distinguish this take from the umpteenth others.

BOD_001_COVER-D_DJURDJEVICGranted, that’s all just plot, and any story can be elevated by the details and how the story is being told. However, writer Robert Venditti relies heavily on the series that built up to this event comic when it comes to believing that the Unity team have explored all their options beyond physical confrontation of Gilad and the time-displaced geomancer Tama. Additionally, I was perplexed that in a world of alien armor and immortals that anyone, talking to you especially Ninjak, would doubt the possibility of a time-travelling Earth avatar sent back to save them from catastrophe. Venditti expects readers to suspend a lot of disbelief in terms of why these two parties cannot talk things through thoroughly rather than give each other ultimatums and then flying away in a huff when things don’t go their way.

What I do like about this premiere though is the characterization of the present-day Geomancer David and Tama. It’s a great idea to start out the issue with an introduction to David on the day he first taps into his powers as the geomancer, and the glee with which he responds establishes him as an endearing child. His later actions therefore become more compelling when the question arises as to how he’s been thoroughly corrupted by his captor. Meanwhile, Tama’s playfulness and curiosity in spite of her current peril make her immediately likable. When not reading prophecy from the Book of Gemonancers, Tama’s dialogue exudes the innocence of a child, such as her intrigue in hippopotami, an animal I assume is extinct in Tama’s time. I have no interest in following the rest of this series, but if Tama ends up with her own series at the end of this event I’ll consider it a success regardless of the story’s quality.


Book of Death #1 (of 4) Writer: Robert Venditti Artists: Robert Gill, Doug Braithwaite Publisher: Valiant Comics Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital

Review: Weekly Shonen Jump #33

This was a relatively short but solid issue of Jump as One Piece quickly moves forward with the fallout of the events in Dressrosa and a new Jump Start series, Best Blue, enters the fray. The newest Jump Start is here by writer/artist Masahiro Hirakata: a swimming manga called Best Blue.  I've surely implied this before, but have never outright said that I am not a huge fan of sports manga.  Most off-genre, super-specific manga actually do pretty well and translate into anime after not too long.  The only ones I've liked are Food Wars and Bakuman, the latter of which was mostly of interest to me as someone who writes comics and is fascinated by the production of manga in Japan.  Food Wars really fires on all cylinders, and most if not all of the sports manga I've read have, by contrast, really contrived drama, bland characters, and only work insofar as they supply scripts for an anime that portrays the dynamic actions of the sport much better.

Weekly Shonen Jump #33Best Blue was far from exceptional in this respect.  Sure, we've got the typical Shonen hero (with blue in his hair and in his name to boot!), but for a manga focused on competitive swimming the pace is slow.  Worse yet, the big reveal in this issue was telegraphed and impersonal.  The success of the current king of swimming anime, Free! is in its fan-service and its out-of-the-pool soap opera qualities (and in the fact that they never even tried it as a manga!).  Best Blue isn't drawn well enough to make up for the fact that competitive swimming itself is just not a suitable subject for a pictorial narrative done in this straightforward kind of manga style.  There's no real twist to this series, no reason to come back unless you really really enjoy swimming and, even then, it's going to be hard to get too invested in this series.  It won't be around very long.

Oda is so damn smart: Dressrosa, the most grandiose and successful arc post-timeskip, literally just ended, and he is leveraging all of the drama to begin changing the political landscape of the world of One Piece.  Last week, I mentioned that Fujitora's apology was a huge moment in this series, and now that Sukizaka has banned him from setting foot in any naval base without Luffy and Law in tow, this arc is really going to come to its final conclusion.  Fujitora really seems uneasy about this entire arrangement, and the ultimatum given to him by the elders and Sakazuki has brought the entire situation--the world government's support of pirates via the navy, Fujitora's distaste for the use of pirates by the navy, the pirate alliance, AND the revolution--to a critical juncture.  It all rests on exactly what Fujitora has in mind now, and will foreshadow the political landscape going forward not just between pirates and the navy, but between the navy and the world government.

I can't wait to see what Soma is up to in Food Wars, having placed last on the first day of the Moon Festival after being a moron and placing his dinky little food cart across from a restaurant being run by Kuga.  This series stays relatively formulaic in terms of Soma's last-second, unexpected antics, but the art never falters and the humor and quick story pacing is always there.


Score: 3/5


Weekly Shonen Jump #33 Writer: Various Artist: Various Publisher: Viz Media Release Date: 7/13/15 Format: Weekly; Digital

Review: Long Walk To Valhalla

Long Walk to Valhalla is one of those stories in which you get it, but you don’t get it. I mean I got the overall story, but I’m not sure if I understood all of the components that got me there. I’m okay with that because the best thing about Long Walk to Valhalla is that it leaves you wanting to read it again. It leaves you wanting to understand it more. The best way I can describe Long Walk to Valhalla is to say it’s a This is Your Life style of story. We begin in the past with two brothers at a country convenience store buying candy and… ephedrine. Rory, our shorter of the two brothers does all the talking. His brother Joe is a special case and clearly he’s not all there. As they leave we get a look into Joe’s world when he sees the “pretty things” as Rory calls them. The pretty things would likely drive you insane as they’re something out of a drug induced Fantasia, but this poor soul is seeing them in real life and daily.

After this opening we go to the future and find Rory again. He’s driving his car and it’s unclear where he’s off to at the moment, but it doesn’t matter as his car breaks down and strands him. He goes to use his phone and discovers he’s out of minutes. So he does what anyone would do and sits down to smoke a cigarette. I mean I don’t smoke, but I would definitely sit there for a minute hating the situation. Behind him he hears a voice and then a fall. Rory wanders into the field to find a young girl that’s twisted her ankle. He asks where she’s from and where her parents are and the girl tells him she’s a Valkyrie of Arkansas. She also informs him that he’s going to die today.

The story continues to bounce between the present and the past leaving us to wonder if the more we learn about Rory, the closer he’ll get to death?

Long-Walk-To-Valhalla-HC-1The writing is wonderful on this story. The dialogue steals the show, particularly the interaction between Rory and Sylvia (our Valkyrie) as they play off of each other very well. There’s a strange level of comfort between the two, but I liked that. I don’t know why, but it just worked. I have some theories on who Sylvia is supposed to represent, but I could be way off so I won’t bother. We have the comment section for that.

There’s a lot going on in the story. A lot more than just a simple look at the past as writer Adam Smith explores the complexity of relationships throughout the story. What Smith does extremely well as a writer is keep your interest. It’s a decently long story, but it doesn’t feel like it because you just want to tear ass through it.

A lot of credit needs to go to Matthew Fox who illustrates and letters the entire story. He also does a lot of the coloring which is all kept to this bluish hue. The blue hue works for the story and serves to give it a lot of personality without distracting from the art or story.

Fox’s character designs stood out to me because we see the same characters over and over at different stages of life. With that he could easily have stumbled and produced characters that were too old looking for their age, but instead he really delivers believable designs for everyone at their different ages. Future Rory really looks like the adult version of kid Rory that we’re introduced to in the beginning.

The last two bits of the art I want to talk about are the “pretty things” and the panel design since they do kind of go together. The pretty things look anime/Fantasia inspired, but Fox makes them work within his style which is neither of those two things. There’s an emotional weight to these creatures and Fox does captures that with his art making for a better story. As for the panel design, Fox makes this story look epic. Most of the time it’s not. Most of the time it’s characters talking or a dramatic scene playing out, but there is this overall epic feeling to it that feeds into the big question of what’s going to happen to Rory at the end.

I’ve been looking forward to talking about this story for a while. I enjoyed the hell out of it as it was a simple concept, but very clever at the same time. If you like stories like Doomboy or I Kill Giants then you’re bound to like Long Walk to Valhalla.


Score: 5/5


Long Walk to Valhalla Writer: Adam Smith Artist/Letterer: Matthew Fox Publisher: BOOM!/Archaia Price: $24.99 Release Date: 7/21/15 Format: Hardcover; Print/Digital

Review: Giant Days #5

It’s time for the Hall Ball and everyone’s going- yes, Susan, even you. McGraw goes along for the experience (he’s a “try everything once” kind of man), while Ed goes in the hopes of wooing Esther, despite having yet to indicate that he’s interested. Esther goes because she’s a woman seeking adventure, and Daisy’s gaining some key life experiences she’s thus far missed out on (uncomfortable school dances absolutely are key life experiences). Right off the bat I need to say this: I want more Giant Days. These issues are too short for me, and I’m always left wanting more. I don’t mean that the story is lacking in any way, but that I get so engrossed in the story and these characters that when I hit that final panel, I’m left kinda bummed.

Giant-Days-#5There’s a lot that goes down in each issue, so the story is definitely not lacking. In #5, we’ve got a decent amount of relationship drama. Daisy’s still dealing with Nadia’s rejection, Susan and McGraw’s feud reaches a turning point, and Esther’s night doesn’t turn out as planned.

As far as Giant Days goes, this issue was fairly low-key. Not many shenanigans happened, which surprised me, since a ball seems like the perfect place for shenanigans. I’m not complaining, though- feelings won out over shenanigans this time, and it was good to see certain issues get worked through. Worked through, though not necessarily resolved, which is good in that it both makes the story more relatable and leaves us with plenty of questions for the next issue. Especially considering the ominous text McGraw and Susan receive at the end

Other great points in this issue: Ed and McGraw’s friendship, the line “being a statuesque consumptive must be exhausting,” Daisy gaining a cowboy hat at some point during the night, and the friends “inevitably” being kicked out of a boutique. Oh, and the over-glittered disco ball.

Giant Days has always had me grinning from start to finish, and #5 was no exception. Though the melodrama seemed toned down in this issue, I have no complaints, because at this point in the series, we’ve got well-established characters and relationships, and they are rightfully the heart of this story.


Score: 4/5


Giant Days #5 Writer: John Allison Artist: Lissa Treiman Colorist: Whitney Cogar Publisher: BOOM!/Boom Box Price: $3.99 Release Date: 7/15/15 Format: Mini-Series; Print/Digital