Sports! Yes indeed, this time around Monster & Wine are talking about both the pitch and the court. The introduction of women's national teams in the upcoming FIFA 16 video game has people both incredibly stoked and peculiarly pissed off. M&W fall into the former category and discuss in depth. Monster takes a back seat and lets Wine do her thing by evaluating the Golden State Warriors and the Cleveland Cavaliers going at it in the upcoming NBA Finals. The episode is closed out with a couple of "weird" stories from around the web.
Trailer Time: Roche Limit: Clandestiny
Michael Moreci has released a trailer for his second volume of Roche Limit over at Image. The second issue of Clandestiny is out on June 10th so catch up on the series which you can do so on Image's site.
JoJo's Bizarre Adventure: The Complete First Season Arrives July 28 from Warner Bros. Home Entertainment
Delve into the mysterious trek of the Joestar family from the very beginning of the popular manga tale when Warner Bros. Home Entertainment releases the DVD and digital anime anthology, JoJo’s Bizarre Adventure: The Complete First Season, on July 28, 2015. Featuring all 26 episodes on three DVDs, JoJo’s Bizarre Adventure: The Complete First Season ($49.45 SRP) follows the enthralling, decades-spanning story of wealthy, young Jonathan Joestar and his adoptive brother Dio Brando, the latter of whom uses a mysterious stone mask to become a powerful vampire and further aid his attempt to gain control of the Joestar fortune. The first season covers two distinct arcs set 50 years apart – “Phantom Blood” depicts the battle between Jonathan and Dio, while the future “Battle Tendency” focuses on Jonathan’s grandson Joseph’s pursuit of the mask’s creators, the Pillar Men.
Based on the monumentally popular manga series by internationally acclaimed author Hirohiko Araki, JoJo’s Bizarre Adventure: The Complete First Season runs the full gamut of genres so prevalent in today’s pop culture: supernatural, adventure, comedy, horror, action and mystery. The series is also infused with pop culture references, particularly in the realm of American rock music, including a driving soundtrack that features the band Yes and their 1971 hit, “Roundabout.”
“Few manga series have risen to the level of popularity of this franchise, making it a true privilege to release this epic anime series on DVD and digital,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing. “The sheer scope of the first, multigenerational season of JoJo’s Bizarre Adventure: The Complete First Season, and this series’ unique place in the pop culture canon, makes this a ‘must-have’ for fans across the globe.”
The Basics
Street Date: July 28, 2015 Order Due Date: June 23, 2015 Languages: English Audio: Dolby Stereo Color Run Time: Approx. 624 minutes Rating: NR
About Warner Bros. Home Entertainment, Inc.
Warner Bros. Home Entertainment (WBHE) brings together Warner Bros. Entertainment's home video, digital distribution and interactive entertainment businesses in order to maximize current and next-generation distribution scenarios. An industry leader since its inception, WBHE oversees the global distribution of content through packaged goods (Blu-ray Disc™ and DVD) and digital media in the form of electronic sell-through and video-on-demand via cable, satellite, online and mobile channels, and is a significant developer and publisher for console and online video game titles worldwide. WBHE distributes its product through third party retail partners and licensees.
WB Animation Announces LEGO DC Super Heroes - Justice League: Attack of the Legion of Doom!
DC Comics and LEGO® fans can rejoice as Warner Bros. Home Entertainment, Warner Bros. Animation, DC Entertainment and The LEGO® Group release their next animated feature, LEGO® DC Comics Super Heroes – Justice League: Attack of the Legion of Doom! on Blu-rayTM Combo Pack, DVD and Digital HD on August 25, 2015. The Blu-rayTM and DVD releases will include an exclusive Trickster LEGO® Minifigure, while supplies last. LEGO® DC Comics Super Heroes – Justice League: Attack of the Legion of Doom! will be available on Blu-rayTM Combo Pack for $24.98 SRP and on DVD for $19.98 SRP. The Blu-rayTM Combo Pack includes a digital version of the movie on Digital HD with UltraViolet. Fans can also own LEGO® DC Comics Super Heroes – Justice League: Attack of the Legion of Doom! in Digital HD on August 11 via purchase from digital retailers.
Crime is on the run as the newly formed Justice League keeps Metropolis safe and this makes evil genius Lex Luthor very unhappy. Together with Black Manta, Sinestro and a gang of ruthless recruits, Lex builds his own league and declares them the Legion of Doom. With this super powered team of terror and a plan to attack the top-secret government site, Area 52, can Lex finally be on the verge of victory? Sound the “Trouble Alert” and get ready for the bricks to fly when Superman, Batman, Wonder Woman and the rest of the Justice League face off against the world’s greatest Super-Villains! It’s the next all-new original movie from LEGO® and DC Comics.
The cast of LEGO® DC Comics Super Heroes – Justice League: Attack of the Legion of Doom! features some of the top voiceover artists in the industry, led by Justice League heroes Troy Baker (Batman), Nolan North (Superman), Josh Keaton (Green Lantern), Khary Payton (Cyborg), James Arnold Taylor (The Flash) and Grey Griffin (Wonder Woman, Lois Lane). The Legion of Doom includes Mark Hamill (Trickster, Sinestro), John DiMaggio (Lex Luthor, Joker), Kevin Michael Richardson (Captain Cold, Gorilla Grodd, Black Manta), Tom Kenny (Penguin), Cree Summer (Cheetah) and Tony Todd (Darkseid). Dee Bradley Baker is both hero and villain as Martian Manhunter and Man-Bat.
LEGO® DC Comics Super Heroes – Justice League: Attack of the Legion of Doom! is directed by Rick Morales from a script by Jim Krieg. Sam Register. Jill Wilfert, Jason Cosler and Keith Malone are executive producers. Benjamin Melniker and Michael Uslan are co-executive producers, and Brandon Vietti is supervising producer.
“Warner Bros. Home Entertainment is excited to release LEGO® DC Comics Super Heroes – Justice League: Attack of the Legion of Doom!” said Mary Ellen Thomas, WBHE Vice President, Family & Animation Marketing. “This is a wonderful addition to the LEGO® DC Comics Super Heroes franchise. The Justice League is facing off against the most formidable villains yet, resulting in an action-packed and hilarious film.”
LEGO® DC Comics Super Heroes - Justice League: Attack of the Legion of Doom! Special Features include:
- Featurette - “Click, Zap, Boom! Creating the Sound Design” - This fun documentary goes behind the scenes with the talented sound design and foley team to explore how LEGO® sounds are created live on stage and then edited into the final movie.
Trailer Time: Boring Ass Teaser For Ash vs. Evil Dead
Wow that was... boring. Don't get me wrong I'm hyped on this show. I have zero expectations for it which is the best possible thing for me, but that teaser was... boring. Are they trying to get my mom to watch it after Outlander or some shit? I'm still looking forward to the show, but I hope the marketing gets better or at the very least stays off my radar.
From Starz:
The STARZ Original series “Ash vs Evil Dead” is rolling out new teasers this week for the 10-episode first season of the half-hour series executive produced by Sam Raimi, Rob Tapert, Bruce Campbell, the original filmmakers of the franchise, and Craig DiGregorio who will serve as executive producer and showrunner. “Ash vs Evil Dead,” which is currently in production in New Zealand, is the long-awaited follow-up to the classic horror film franchise The Evil Dead and is set to premiere on STARZ in Fall 2015.
Campbell will be reprising his role as Ash, the stock boy, aging lothario and chainsaw-handed monster hunter who has spent the last 30 years avoiding responsibility, maturity and the terrors of the Evil Dead. When a Deadite plague threatens to destroy all of mankind, Ash is finally forced to face his demons –personal and literal. Destiny, it turns out, has no plans to release the unlikely hero from its “Evil” grip.
The cast is led by Bruce Campbell (Evil Dead, “Burn Notice”) in the role of Ash Williams, Lucy Lawless (“Salem,” “Spartacus”) as Ruby a mysterious figure who believes Ash is the cause of the Evil outbreaks, Ray Santiago (“Touch,” Meet the Fockers)as Pablo Simon Bolivar, an idealistic immigrant who becomes Ash’s loyal sidekick, Dana DeLorenzo (A Very Harold & Kumar 3D Christmas) as Kelly Maxwell, a moody wild child trying to outrun her past and Jill Marie Jones (“Sleepy Hollow”) as Amanda Fisher, a disgraced Michigan State Trooper set to find our anti-hero Ash and prove his responsibility in the grisly murder of her partner.
Raimi is directing the first episode of “Ash vs Evil Dead” that he wrote with Ivan Raimi (Darkman, Army of Darkness, Drag Me to Hell), and Tom Spezialy (“Chuck,” “Reaper,” “Desperate Housewives”). Raimi will also serve as executive producer, with Rob Tapert (Evil Dead, “Spartacus,” Xena: Warrior Princess”) and Bruce Campbell (Evil Dead, “Burn Notice”) along with Craig DiGregorio (“Workaholics,” “Chuck”) who will serve as executive producer/showrunner. Ivan Raimi will co-executive produce and Aaron Lam (“Spartacus”) and Chloe Smith (“Spartacus”) will serve as producers.
Review: Weekly Shonen Jump #26
Devily Man tries its hand as this week’s “Jump Start” and it is miles above its only competition, Straighten Up. As much as true-to-life (ish) mangas are riding a wave of popularity for the past few years, I can’t imagine Straighten Up will beat out a series as clever and quick as Devily Man. I also don’t expect Straighten Up to stick around to long over in the Japanese line-up, but that’s a much harder prediction to make and Jump in Japan has the resources to reach niche audiences, even with dance manga. Devily Man features a pathetic, pure-of-heart devil who sells a special power to evil people in exchange for half of their salary for the rest of their lives. The power in question: contact with the hand of another person reveals to the user every bad thing that person has ever done. The power is used deftly by our co-antagonist, a small child, to blackmail the shit out of people into doing whatever he wants. As much as I love the premise and the simplicity of its execution, it’s going to be a challenge for this manga to really go somewhere. We’ll see where it’s at in a few weeks. I thought that this was one of the most visually stunning chapters of One Piece that I have ever read. The entire Dressrosa arc has been a flourish in character design and the city itself has come alive in its shift from quaint town to ominous evil superstructure. What really grabbed my attention about this chapter, however, was the organized chaos of these layouts. No other mainstream mangaka has ever been anywhere close to Oda’s level in terms of putting massively popular stories on a page, and this chapter is a testament to that fact.
The other awesome aspect of this week’s One Piece is exemplified by the way that Oda is able to drive tension by delegating the epicness of an arc’s climax to character’s other than Luffy. This is a manga about his entire crew and everyone that they come across. It’s one thing to see that featured in stellar, always unique character designs; however, it’s another level of storytelling entirely to bench your main protagonist and put the fate of an entire city on everyone else’s shoulders. Naturally this is a major feature of Shonen tales--lord knows it added hundreds of episodes to DBZ--but Oda doesn’t make it feel like a mere trope. One Piece feels like it’s everyone’s story.
And, of course, Naruto, Food Wars, and Academia were fantastic. We went over 300 pages again this week and none of the stuff that I usually read felt even a little bit like filler. Seeing Naruto casually interact with Kurama while shepherding around Sasuke and Chouji’s daughters was pretty awesome. Seeing the alarming capabilities of the mysterious Uchiiha foe is even more awesome. It’s looking more and more like this has to someow involve some long-lost Orochimaru weirdness. I have no idea how this could be anything else.
Score: 5/5
Weekly Shonen Jump #26 Writer: Various Artist: Various Publisher: Viz Media Release Date: 5/25/2015 Format: Weekly; Digital
Review: 2000 AD - Prog 1932
Tharg is on the cover this week to beckon in a bunch of penultimate issues and even a Future Shock. Future Shocks are hard to tackle, both for creators and readers. You get four pages to tell a story from start to finish and it ought to have a compelling twist. For the creator, that means finding a satisfactory way to move things along to the payoff, which usually involves starting things off smack in the middle of a particular world and situation. For the reader, unfortunately, it means you will probably leave disappointed unless the writer was really, really clever. Here, I thought the first two pages of the issue were very strong, even if the dialog was a little hammy. The twist was a bit of a shrugger, but that’s usually how these things go: either the shock kind of drags and the twist is great, or the shock quickly picks up and then sort of screeches to a “meh.”
Somebody make Commercial Break into a short film. I’m serious. The premise of the series has now proved to be fantastic, but it’s delivery is something special. I know it’s probably a little cliche for some: alien observes human behavior and hijacks a reliable way of reaching humans, doing so through some observed yet anachronistic means. But holy crap this is just so specific and creepy and quick and clever and wonderful. Brixels were made for the comic page, and yet I can’t help but want to actually see and hear the television commercial used to deliver the awesome (and awesomely horrifying) news to these characters. Robson and all the folks bringing his script to the page have translated our distinctively kitsch obsession with thingamajigs and the televised renderings thereof into what is already one of my favorite 3riller’s ever.
Things are turning very Icarus very quickly for Bud in Dredd. I’m obviously still rooting for Bud, despite the fact that I’m supposed to feel at least a little bad about it since he’s cheating the system. I’m looking forward to the resolution, and hoping that after all this crap Bud’s family ends up okay. “Breaking Bud” is obviously very Breaking Bad in this regard, albeit his wife isn’t as… not-quite-likeable as some certain other television show wives.
Score: 4/5
2000 AD - Prog 1932 Writers: Various Artists: Various Publisher: 2000 AD Price: £1.99 (Digital) £2.49 Release Date: 5/27/2015 Format: Weekly; Print/Digital
Spider-Man and Sabretooth Play Chess in Pawn Sacrifice
Just kidding, it's just the two actors that played Spider-Man and Sabretooth! Seriously though, I'm interested in this movie... call me a Bobby Fisher sucker.
In a gripping true story set during the height of the Cold War, American chess prodigy Bobby Fischer (Tobey Maguire) finds himself caught between two superpowers when he challenges the Soviet Empire. Also starring Liev Schreiber and Peter Sarsgaard, PAWN SACRIFICE chronicles Fischer's terrifying struggles with genius and madness, and the rise and fall of a kid from Brooklyn who captured the imagination of the world.
A New Prince(l)ess Debuts
Action Lab Entertainment is proud of it's record of diversity in comic book storytelling, with the title PRINCELESS being one of the keystones in the line. This month, fans of PRINCELESS may have noticed a new monthly series spinning out from it's pages: RAVEN, THE PIRATE PRINCESS! “Raven was a character that I originally created for the Princeless Free Comic Book Day story,” said series creator, Jeremy Whitley. “I needed a story that new readers could enjoy, that would give existing readers something new to enjoy, and would really exemplify what Princeless is all about. So I came up with this story about a girl who just appeared to be an average Princess at first sight but was actually a dangerous swashbuckling pirate.” Whitley says it, “only took seven pages for me to fall head over heels in love with her.”
Debuting in July, PRINCELESS: RAVEN, THE PIRATE PRINCESS follows Raven Xingtao, who is ready to set off on a quest for revenge against her brothers, who have stolen her inheritance. The comic has four covers: A standard cover by series artists, Rosy Higgins and Ted Brandt, and three variants by Katie Cook (GRONK), Richard Case (Books of Magic) and Mike Hawthorne (Deadpool).
Whitley's excitement for the new series is palpable. “Readers of Princeless can look forward to more of the same blend of humor and action that makes Princeless so much fun to read. They can also look forward to more of the same representation that won Princeless the accolades it has garnered over the last few years.As the first issue will demonstrate, the fights and chases are a bit more intense and so are the emotions.” He concluded with, “There will be more punching but eventually also more kissing.”
IndieGoGo: We Kill The Dead
Well that's a hell of a title! Pay attention people, that's called branding! We Kill The Dead is currently on IndieGoGo seeking funding. You can click the video above or read the synopsis below to find out more about the project. If horror's not your thing, that's cool, but give it a share so that it can find it's audience.
It is about a secret government agency whose mission is to combat thano-sapiens, undead killers such as Jason or Freddy. This first story of a planned trilogy entails Joanna, a survivor of a thano-sapien attack at her college, who enlists in the SSTB (Supernatural Special Tactics Bureau). Shortly after she joins, Jack the Ripper returns as a demonic being, last seen when SSTB leader, Nathan Scrimm, blew his head off with a grenade in the 80's. Now Jo, Nate, and the more-than-slightly-disturbed Agent Cooper race to discover the secret to stopping the legendary serial killer while battling an army of thano-sapiens under Jack's control.
IndieGoGo: Vile: The Legend of Thunder Valley
I like me some Western comics and Vile: The Legend of Thunder Valley looks pretty interesting. We've got a preview of the issue that the team is currently looking to fund over on IndieGoGo so check that out first of all since it'll say more about the book than I can. For those still needing more info here you go:
Vile Tells the tale of Hard-Pants, a young Native American mother trying to live her life in a brutal world. Her life is interrupted when the serial killer "Vile" Clem Stlyes wipes out her tribe, and kidnaps her. Clem Styles renames her and attempts to break her spirit. What will she do? What can she do? The murderer Clem Styles is kept alive by several curse-spirits that ensure that only a fitting and horrible death will suit Clem Styles because of the nature of his crimes. Will Hard Pants escape? Will she be the one to bring an end to "Vile" Clem Styles' killing?
IndieGoGo Link!
Review: Lola XOXO: Wasteland Madam #2
If the measure of a good book is it making you feel something, and uncomfortable is a feeling, then this issue did something very right. Unfortunately it was because of the very heavy rape implication. This issue jumps between the past and the present, showing us the weak Maddie she used to be and the tough version she has become. In the first page it is implied that Alton, who has Maddie held captive, will use her against her will. The second time we return to the past they are sharing a bed, she is wearing clothes though, so I'm not sure whether they are implying he is a gentleman and is trying to woo her (Stockholm syndrome style) or if they have done something. Either way she tries to escape, which Alton responds to by letting his men have their way with her. If the rapey vibe wasn't there before it certainly is here.
The dialogue is pretty good, adding to the creepy vibe in places and showing how they characters feel. Alton uses an analogy of his pet (wild badger) that ran away all the time, one time it got past the fence and died, so freedom is not good. He uses this to convince Maddie that she should give up and be his pet. In fact this issue is very Alton-centric, we find out about his past and why, even though he's a total scumbag that no one trusts, may or may not be helpful to Maddies plans.
The artwork is really nice, the people look real. Maddie is drawn really well. Unfortunately the two brothers and Alton look remarkably similar. Which makes it tough when they share a scene.
I don't know where this story is going. The guys are building a plane but there doesn't seem to be a plan for where they are going. The only thing that I'm sure of is, I don't like Alton. I'm not convinced of Maddies new-found toughness or her strategy or prowess. I want to believe that there is a reason that people follow her, but for right now I don't know what that is.
Score: 2/5
Lola XOXO: Wasteland Madam #2 Writer: Vince Hernandez Artist: Siya Oum Publisher: Aspen Comics Price: $3.99 Release Date: 5/27/15 Format: Ongoing, Print/Digital
Review: Postal #4
Postal is not my kind of comic. Crime books, detective fiction and stories about small-town Americana, however skewed, aren’t usually my bag. To quote The Barenaked Ladies (that’s still a relevant cultural reference, right?), it’s all been done. And it’s all been done boringly. So it’s a testament to the strength of this book’s creative team and its myriad talents that I’ve not just stuck with Postal, but have consistently enjoyed every single issue of its run so far. Part of that is thanks to truly exceptional writing from Bryan Hill and Matt Hawkins, and an art direction from Isaac Goodhart, which does sometimes feel stiff, but keeps pace with impressive expressiveness and a few neat tricks (especially this time). But it’s Postal’s overall commitment to moving forward as a narrative; its approach to change in a place intentionally bereft of it, with a lead almost incapable of it, that makes it so damn addicting as a comic book story.
Postal’s main protagonist, Mark, is, by far, one of my favorite characters in any comic book on the stands right now. I love how his frank and inescapably observant perspective gives him not just a unique approach to detective work, but also an avenue for some perhaps incongruously poetic turns. The way he describes the scene with the sheriff in his hospital room, for example, and especially the roses that decorate it, is arresting stuff to say the least.
The scene with the necktie also illustrates the creative team working well together to subtly make the reader do a double-take at something we might have missed - something ostensibly innocuous - which may actually point to a more important revelation of character, and might even act as a call-back to the cover in a weird way. Provided that isn’t just me projecting, it’s this kind of deftness that so impresses me about this series so far.
Back to the discussion of Mark; as endearing as he most definitely remains, here he is given a deeply terrifying evolution of character; one that could give his listless, pragmatic expression and approach to life a worrisome turn in future. There may even be a portent of doom, but it also succeeds in keeping the reader guessing as to how Postal and its cast will change and adapt. And that, of course, is the hook: in a place where everything and everyone is damned, can anything or anyone be saved? It is, as yet, unclear, but I’ll be here to find out.
There are a few glaring problems with this issue; some little things, like Mark’s seemingly miraculous recovery from the A+ beatdown he received from his Pops’ goons, but also some more striking hiccups. Unlike Mark and Maggie, who herself benefits from either growth or regression (depending on your viewpoint), the characterization of Mayor Shiffron suffers from a less wieldy imbalance this issue.
Evolution (or devolution) being a big theme this time, her multifaceted one-step-forward-two-steps-back change is clearly intentional, but that’s the problem. Scenes where she is cold, set against ones where she is caring (like the girl with the coat), feel like shoehorned disparity to give her an uneasy pathos or unbelievable relatability. Saying that, when Hawkins and Hill focus on her steely resolve, the sharp cut of her jib is some of the best stuff going on paper right now.
Speaking of sharp, Isaac Goodhart’s art is just that throughout the majority of this issue’s layouts. While many readers may point to a lack of expressiveness in his characters, I think there’s more nuance to his facial acting, and argue that it’s actually quite tight and evocative. Sure, many members of his cast emote just this side of wistful (if not warm), but he does great work with simmering anger, unwashed creepiness and even fiery terror. Again, some of his figure work is also stiff and some of his backgrounds come swaddled beneath too thick a wash from Betsy’s Gonia’s generally decent colors, but never egregiously so. he overall visual package then is paired well with the story and further paints a subtle, seeping gash in an otherwise pastoral picture.
In its fourth issue, Postal continues to prove itself to be something quite special within our favorite little medium; a standout in an ongoing upswell of increasingly great storytelling, and one of the strangest, most well-written detective yarns in recent memory. If you’re not reading this, you need to change that. Posthaste.
Score: 4/5
Postal #4 Writer: Bryan Hill/Matt Hawkins Artist: Isaac Goodhart Colorist: Betsy Gonia Publisher: Image/ Top Cow Price: $3.99 Release Date: 5/27/15 Format: Ongoing; Print/Digital
Review: Mayday #2
Mayday’s second issue doesn’t quite get away from the things that I had an issue with last time. In fact, this time around, it chooses to highlight a lot of those things and really lean into them, which is an interesting disconnect for me as a reviewer--I want to critique things about the book that the book is actively pushing back against me for critiquing. Maybe Curt Pires is just smarter than I am. This issue picks up with a flashback of Terrence Gattica, having just won his gold statue, and moping about being successful and disaffected. We smash cut to Terrence and Kleio on the run from the bar where they met the animal-headed hitmen last issue, when Kleio discovers that they plan on hitting five separate locations that all make a pentagram. They try to head the assassin’s off at the Hollywood Bowl, only to discover they’ve stumbled into a trap (of course). Meanwhile, evil supergenius Benicio Del Cocaine reveals a little bit more of what he’s up to with these animal-headed folks in his Brotherhood of Filth. As the main plotlines play out, we also get glimpses into the life of a mysterious man (possibly Benicio in an earlier life?) who tries to commit suicide and joins the Brotherhood of Filth.
I want to take more issues with Pires’ pacing here, but the way the book is laid out, I’m pretty sure it won’t let me. The book lets on how self-aware it is in a sequence where Terrence and Kleio are talking about how they’re living an action movie, and Kleio points out that things won’t work out like an action movie, because it’s a comic. Later on, when things seem their worst, Terrence-as-narrator tells the reader not to freak out and jump to conclusions because “it’s only issue two. Give it some fucking time.” I’d love to do that, but at this point, we’re halfway through the series, and I’m still not entirely sure what Terrence or Kleio wants, and they’re our protagonists. I know what Terrence doesn’t want--on the second page, his inner monologue says he doesn’t want to die alone. That’s fine, but that’s not a goal that one can take steps towards. There’s a lot of scenarios that aren’t “dying alone.” If this were an ongoing series? Sure, that would be a totally okay statement to make. You don’t know if there’s going to be another five issues or another fifty. But here, it feels like just this side of an apology.
Meanwhile, Chris Peterson’s artwork is the highlight for me once again. He captures the action-movie feel the book requires for scenes like the Hollywood Bowl shootout, but he also sneaks in a few masterfully introspective sequences during the unnamed man’s suicide and initiation. He breaks the page into way more panels and uses their layouts to subvert the images we expect to find. It’s an amazing sequence, and I wish I had a better way to contextualize it. Pete Toms’ color palette is also a win for the book, and I should have made sure to address it last time (there are no credits in my review copies, as my shitty way of an apology). He brings the paradoxical washed-out vibrancy of Los Angeles to life, a world where everything was painted day-glo sixty years ago, and in the intervening time, the sun has demolished it until only soft pastels remain. This is a team I can’t wait to see more of, as they’re building this incredible world.
Mayday is a book that seems to revel in obfuscation, in a more gleeful way than even a Morrison book does. I don’t know if that makes it the perfect book about LA or the worst one, but it doesn’t seem to give a shit either way, so I suppose I’ll be back next month for more information and possibly some answers.
Score: 3/5
Mayday #2 Writer: Curt Pires Artist: Chris Peterson Colorist: Pete Toms Publisher: Black Mask Studios Price: $3.99 Release Date: 5/27/15 Format: Mini-Series; Print/Digital
Review: Past Aways #3
With respect to their collective other works, which are by-and-large pretty goddamn great, I feel that Scott Kolins and Matt Kindt’s Dark Horse book, Past Aways, may not be getting the level of attention or acclaim that it deserves, comparatively. And honestly, that’s kind of a shame, because while it may not seem it from its solicits or even its cover, this is some of the most creative, genuinely entertaining and intriguing sci-fi adventure stories in a sea of the stuff on shelves today. Jumping back and forth between the future time from which our titular crew has been stranded and our “backwards” present (their past), we get a deeper glimpse into what makes the characters, as well as their team dynamic itself, tick. And it is, in turn, some fun, emotional and revelatory stuff.
Of course, split between the fucking brutal trial-by-survival of my favorite series character and resident “heavy,” Maggie, and the traitorous turn that has soured the relationship between team leader Arthur and his not-what-he-seems chum Phil, the fray in this team is only half the story.
The other half sees the recently re-formed faction do its best impression of 1987’s classic, InnerSpace, by battling the interior organs of a gigantic, time-lost robot. In the process, not only do they (and we) learn something about them, but about the meandering automaton, as well; and it may have more in common with them than anyone might think, or be comfortable with.
In its telling, Kindt and Kolins practice their usual shenanigans in Past Aways #3, with oft-fun and ridiculous liner nots explaining the book’s “technology” and threats to the team. This time, the book boasts a bevy of innovations and good times, including retractable electric swords, hallucinogenic antibodies, rocket-propelled wrist-rockets (not a masturbatory euphemism) and a truly tragic ending that makes you honestly question the inherent goodness of their era and the project with which they are affiliated.
If there was any doubt before (which there wasn’t), Kindt continues to prove himself a master storyteller, stirring in a few new twirls to a tried-and-true approach to the “lost in time/space” adventure team, mixing the harrowing but ultimately jaunty “battle” with a ginormous robot with an interpersonal patchwork of pathos. That marriage gives the story more depth than you might immediately expect, and makes Past Aways #3 an enjoyable read because it challenges the unknown in so many delightful ways.
I’m still generally new to his stuff, which I know is a travesty, given the length and breadth of his career, but Kolins once again shows how great he is for this story. His clean, just shy of cartoony style really puts over that fun feel in Past Aways, and in fact does a great job of belying it's perhaps deeper message. His character and technology designs, too, are perfect for a guy like me, who eats up his sci-fi-meets-superheroes verve like fucking candy. Altogether, it’s entertaining stuff that makes everything feel fresh and new, yet grounded in something brilliantly nostalgic.
With all of the similar-seeming fare out there currently, I really, really hope people are giving Past Aways a chance, because I’ve had one helluva ball with this series and expect the same for anyone else smart enough to pick it up and check it out!
Score: 4/5
Past Aways #3 Writer: Matt Kindt Artist: Scott Kolins Publisher: Dark Horse Comics Price: $3.99 Release Date: 5/27/15 Format: Ongoing: Print/Digital
Review: Tomb Raider #16
Tomb Raider #16 adds to my growing dismay about this series. The first five pages are devoted to a nightmare that Lara has, which doesn't feel like it fits the narrative. I could understand the guy having that nightmare (being that Grim is Scottish) but why would Lara be dreaming about that. It just felt bizarre and didn't further the story.
Then there is the dialect problem, Mari doesn't sound like a young Mexican girl. Her English is incredible to the point where she writes jokes on the map she gives Lara (why would she joke after being in peril and being saved by Lara?). at first I thought Lara was speaking Spanish, but it turns out she wasn't. My assumption that she can speak Spanish was correct, as when she does it is denoted by <> symbols.
The introduction of the new characters felt meh at best, especially all the shots of Lara’s father which don't show his face. That's probably leading to something later.
The backgrounds are gorgeous. I spent most of my time just looking at them. The jungle is drawn really beautifully and the reveal of the enemy camp. Which is a combination of huts and trees houses in an almost favella style was really cool.
I'm really confused with how these comics are going to tie into the next game. And seeing as how much I enjoyed the game, I think I'm going to give up on these comics as part of the continuity in my head. I'll probably finish the run as It's coming to an end, but I wouldn't recommend it to others. At this point It's only for hardcore fans and people who have persevered so far.
Score: 3/5
Tomb Raider #16 Writer: Rhianna Pratchett Pencils: Nicolás Daniel Selma Inks: Juan Gedeon Colors: Michael Atiyeh Publisher: Dark Horse Comics Price: $3.50 Release Date: 5/27/15 Format: Mini-Series, Print/Digital
Review: Divinity #4
And just like that, our introductory story to the strange being known as Divinity has wrapped up. I got to say that looking back on where I had hoped this series was gonna go, I am disappointed that this issue ended up still devoting a good chunk of time to fisticuffs with Unity. After those first two issues, I had gotten excited at the prospect of a comic with an overly powered being that had a meditative approach rather than resolutions where beams and fists are flying. Still, writer Matt Kindt, penciler Trevor Hairsine, inker Ryan Winn, colorist David Baron, and letterer David Lanphear deliver a solid conclusion that has its share of emotionally charged moments all while making a damn beautiful book.
Since Unity snapped out of Divinity’s time loop at the end of last issue, they’re back to trying to get the cosmically infused being into a containment pod. Meanwhile, we’re returned to the cliffhanger from last issue that sees Adam, Divinity’s human name, reunited with his wife and daughter who we quickly learn are both deceased in the present of the comic. Time being no big thing to Divinity, he was able to pluck them out the timestream and drop them into his paradise. The majority of this issue plays out both of these conflicts as Unity uses Divinity’s memory of this reunion to distract him, the reader learning along with Divinity the folly of his actions as his wife tells his to undo her resurrection. Even with the assistance of followers devoted to Divinity, led by David the rock climber from issue one, things don’t turn out so well for him on either front.
I wasn’t much surprised by Kindt’s script this issue. The ongoing conflict of Divinity determining whether he can resume his past life ends up going a predictable route, but where Divinity seems to be mentally in the last few pages does have me intrigued to what his mission might be moving forward. Most interesting was the inclusion of David and the rest of Divinity’s followers, and their potential involvement in the future of Divinity as a series. Kindt really sold me on Divinity's conversation in the final few pages as we see him gain, even if for just a moment, all that he had lost in devoting his life to his country.
The art team does some astonishing work this issue on both the personal and epic scale. Watching Divinity respond to his deceased wife’s plea to return to death hurts in the right way. Similarly, the panels of Divinity’s lush planetoid crashing to the desert floor worked really well to wrap up Divinity's initial tale as a messiah figure. In his absence, paradise immediately falls apart, and it’ll be interesting to see whether his return will result in another attempt at harmony, or a change of philosophy involving all out death and destruction.
Score: 3/5
Divinity #4 Writer: Matt Kindt Artist: Trevor Hairsine Colorist: Trevor Baron Publisher: Valiant Comics Release Date: 5/27/15 Format: Mini-Series; Print/Digital
Review: Chew #49
Some books feel like a recipe with missing ingredients, others have all the ingredients they just can't cook worth a damn, but these guys add the umami to every page. Maybe I shouldn't be using any cooking metaphors for this issue, as the first couple of pages show Colby Asking Chow to re-cook Poyo (which he claimed from a landfill). Yuck, but I mean yuck in the 'oh my god that's really gross but also really funny'. Why is it funny? Because they want to feed it to Tony (that guy has the worst/best superpower). If you haven't read any of my previous reviews of Chew or you haven't stumbled on an issue yourself, then I will tell you again to go out and buy this immediately. In fact I'm envious if you haven't even begun as you can go and devour the entire collection up to this point.
Tony knows what he has to do to take down the collector, but in order to do it, someone has to die. This adds a level of tension that I haven't felt in Chew. Every page you get through you think it might be him, then again maybe it's him or HIM. As always there are new food-related cases, that are gloriously ridiculous.
This comic is filled with humor, if you don't get a few chuckles out of each issue then you are dead inside. There's so much to get a laugh out of, the situations, the powers, the background jokes, the alliteration or rhyming case names ETC.
As always the artwork is absolutely stellar. I have to mention the cover of this issue which adds to previous issues covers to create a dinner table with various characters. This is another one of those things that John and Rob do so well, layering in things for later. I hope there will be at least one more addition to the table (if not more)
Score: 5/5
Chew #49 Writer: John Layman Artist: Rob Guillory Publisher: Image Comics Price: $3.99 Release Date: 5/27/15 Format: Ongoing, Print/Digital
Review: The Infinite Loop #2
I absolutely adore this comic. Usually I hate comics with an agenda. Yes I know every story whether it's film, book, comic, TV etc. all try to make you think or feel a particular way. What I mean is I hate it when the writer tries to shove it down your throat, "You will feel the way I want you to damn it." That is why I absolutely love this book, the story is the main point and the subtext is exactly that, undertone that is not explicitly forced upon the reader. With that said, if the story sucked the subtext would all be for naught. Thankfully Pierrick Colinet has focused on giving the reader a story that doesn't feel preachy (I wasn't even aware of the subtext in the first issue til I read it in the letter column). The characters are well fleshed out, even the mega-douches come across well (they're only doing their job after all). But the most amazing thing is that after only two issues I genuinely care about the main character (Teddy) and her love interest (Ano).
The art goes a long way to making you care about the story and characters. Firstly the characters a drawn fantastically, Teddy still has the tapered waist but not to a ridiculous degree. She looks like a girl who eats her meals, which is rare in most books. Ano has a more typical gorgeous figure, which is nice to look at but I'm worried it will harm the story (is Teddy only interested in her because she's attractive?). The two macho guys are douche-jocks with Adonis builds, which seems to fit their repulsive personalities which is backed up by the writing.
Second is the panel placement. This book has some unique paneling that really adds to the story. Sometimes when artists get fancy with the panels it confuses the feel and becomes a hard-to-read jumbled mess. Elsa Charretier does a fantastic job of adding elements to the page that add to the story and don't take away from the readability. I also love the decision trees where we get to see all the things that race through Teddy's mind.
Just like last issue this one threw another surprise at me. Last time I didn't expect any subtext. This time I wasn't expecting the nudity (I'm not a prude, I just wasn't expecting it) but it fit the scene well and didn't seem out of place. The placement of Teddy's vibrator (used to show that she is a solitary person) didn't feel obtrusive and went well to humanizing her.
Score: 4/5
The Infinite Loop #2 Writer: Pierrick Colinet Artist and Colorist: Elsa Charretier Publisher: IDW Publishing Price: $3.99 Release Date: 5/27/15 Format: Ongoing, Print/Digital
Review: Sons of the Devil #1
Sons of the Devil is the most recent (and arguably, highest profile) foray into creator-owned work by writer Brian Buccellato, bringing relative newcomer Toni Infante along for the ride into the life of the abandoned children of an evil cult. The issue begins with two people kidnapping babies from an orphanage. A guard tries to stop him and he is quickly murdered, as the couple makes off with a baby with one blue eye, and one red eye. 26 years later, we catch up with that baby as a deadbeat mechanic named Travis. He’s got a dog named Riggs, who is probably the new Pizza Dog in the zeitgeist, and he doesn’t want to know where his people come from, even when his former foster brother offers to help him out. The issue is less concerned with where Travis is now than where he came from, as evidenced by the main mystery--where did all these heterochromatic eyes come from?
This book is an interesting beast. The story is a killer idea dressed up in pretty okay art, but something about the middle of the issue feels flat. I don’t know if it’s the fact that the first few pages are so intense and sharp and the last page splash is such a good reveal, but the second act drags like a flat tire. It’s a weird lack of balance where everything seems extremely hard for Travis even though everything appears to be extremely easy. For example, he never found his birth parents, and his ex-foster brother shows up (who he apparently hates for reasons that aren’t quite clear, but the hate is strong) and just happens to be not only a private investigator, but one who specializes in tracking down birth parents! Who just happens to have the right business card on him for Travis to get totally fucked later!
It reads less like a set plotline than a series of coincidences, and beyond even that, a series of coincidences for Travis to spit in the face of. I understand that a major underpinning of the series is that Travis was a kid who bounced from foster home to foster home, who’s got a lot of Unresolved Shit, but in choosing to skip the 26 years between his kidnapping and the present day of the story, we have to take a lot of things on faith. We have no reason to trust anyone in this story, but judging by how he’s dressed, Klay seems trustworthy--the book chooses not to address through visual or dialogue why Travis hates him, other than a few “YOU KNOW WHAT YOU DID.” It wouldn’t be as distressing if I hadn’t been such a fan of Buccellato’s New 52 work, which has been rock solid.
Toni Infante’s art is good throughout, but aside from the coloring, it sits pretty firmly in the Sean Murphy/Mateo Scalera/Shawn Crystal camp--sharp noses, lots of crosshatching, that kind of thing. He uses a muted color palette that gives the series a Breaking Bad kind of suburban desert decay feeling, and that really works in its favor. Now the downside: you know how once someone points one thing out to you about an artist, you can’t not notice that thing every time they do it? Infante’s is that he uses what look like speed or motion lines to create textures in everyday scenes. The same sort of line he uses to denote a speeding car, or to make scenes with murders feel propulsive and shocking, he uses as the pattern for the ceiling in Travis’ apartment. It feels like a cool thing he figured out how to do and he hasn’t quite gotten a rein on it to make sure it’s always as effective as it can be.
This issue is a stutter-step of a first outing. It spends some valuable page space on a thank you letter from Buccellato and thanking the Kickstarter backers of the project, and putting a page to advertise a short film version of the story. If you’re going to pay for the pages anyway, why not put comics in them? The Kickstarter page has to go in, sure, but a thank you letter and a video the author expressly tells you not to watch for spoiler reasons may be better suited for a trade. Plus, then we could have cleared up some things about Travis’ history. But those could’ve/should’ves aren’t my place. This issue is a promising premise that didn’t pan out into such an interesting issue. I’ll be back next month to see how it takes off, but for now, I’m not holding my breath.
Score: 3/5
Sons of the Devil #1 Writer: Brian Buccellato Artist: Toni Infante Letterer: Troy Peteri Publisher: Image Comics & OSSM Comics Price: $2.99 Release Date: 5/27/15 Format: Ongoing; Print/Digital