My latest review is up at Broken Frontier. It’s all about a unique four issue mini-series from IDW Publishing that centres on UFOs, government cover ups and all that craziness.
Written by Chris Ryall, with art by Perth lad done good, Ben Templesmith (30 Days of Night) it doesn’t take itself too seriously.
The first issue is released in March, but for people who find The X-Files too serious and Men In Black not gory enough, this is the book for you!
Check out my full review here.
In what could be perceived as a stand alone tale, there is also the sense that this milestone issue for The Darkness reflects upon its past and throws it forward into a bleak future, yet one not without hope.
Writer Phil Hester seems to be enjoying himself more than usual in this issue, titled Absolute Darkness. Fans of the multitude of future X-Men stories will lap this stuff up, as will fans of The Darkness – obviously. This is the 75th issue of Jackie Estacado and his crazy adventures, if you consider all three volumes of this title since launching way back in 1996. That’s an event worth celebrating, and I have to say when the series debuted back in those wonder-filled days of the 90s I certainly didn’t expect it to last this long. I’m very happy to be proven wrong though. Over the decade it’s been published, it has gone from more than just a morose long haired hitman with evil powers book, to an engrossing world building epic.
This special anniversary issue basically sees Jackie peering into his future, or a possible future, as he begins to understand the powers he has could be devastating. The choice will be his. With cameos from familiar characters in the Darkness universe, Jackie is now an old man, with flowing grey hair and few friends. The world is a desolate place filled with the typical betrayals and battles that seem to follow Estacado wherever he goes.
I can’t really say much more than that, but regular readers of this title will get more out of it. However, fans of eye candy will certainly be pleased too. With issues like this, where different artists are brought on for the celebration, the wealth of pencillers can sometimes give the book a hodge podge feel. This isn’t the case here. With only a few pages to work with each artist brings their best, and scenes are wisely chosen for each of their strengths. From Matt Timson (Impaler) to Dale Keown (Hulk) to a host of others, your eyes are treated with a variety of styles; each one a thing of dynamic beauty.
Official press release below, regarding another milestone issue for one of Top Cow’s most famous titles (following The Darkness #75).
Top Cow Productions, Inc. proudly announced today that the company’s flagship title, Witchblade, will reach issue #125 in March 2009, and the publisher will celebrate this landmark event with an oversized issue including a bonus story. Witchblade #125 brings the series’ critically acclaimed team of writer Ron Marz and artist Stjepan Sejic together to begin the six-part story arc “War of the Witchblades” which the publishers note is the biggest and most ambitious plot they’ve attempted with their flagship character.
Following the events of 2008’s First Born, the Witchblade was split into two halves and the responsibilities split between long time bearer Sara Pezzini and newcomer Danielle Baptiste. Up to this point, Sara and Dani have worked together and developed a sisterly relationship, but that will all change beginning in issue #125. Witchblade #125, which will wrap up long standing plot conflicts Ron Marz has been adding to Witchblade since he first took over writing duties for the series in 2004 with issue #80, will begin a new era for the comic that the publisher aims to refresh the series for long-standing readers as well as make an attractive jump-on point for new readers unfamiliar with Witchblade. Sejic and Marz have committed themselves to working on Witchblade as the core creative team through issue #150. Sejic has been the regular artist for Witchblade since issue #116. Artist Chris Bachalo (Uncanny X-Men, Amazing Spider-Man) joins Marz and Sejic for Witchblade #125 to contribute a two-part cover variant featuring protagonists Pezzini and Baptiste. A third cover by Sejic will also be offered.
Witchblade, which has been translated to TV as TNT’s #1 original film of 2000 and its subsequently successful TV series, has been Top Cow’s longest-running series. “Writer Ron Marz continues to plow up so much new ground on Witchblade that I’m beginning to suspect that rather than using a keyboard to pound out his scripts, he might actually be utilizing a 40-ton earthmover instead,” attests comic book talent Terry Austin (Uncanny X-Men). Jim Cheung, artist of Young Avengers and New Avengers comments, “With compelling stories by one of my favorite writers, and astonishing artwork that makes me want to tuck myself into a corner and cry, I can’t think why Witchblade shouldn’t be on everyone’s reading list.” Witchblade #125 will also feature a bonus story written by Rob Levin (Darkness: Butcher) and Marco Castiello (Secret Invasion: Frontline).
Proving again that the number of tales starring the undead is limitless, BOOM!’s latest issue of its zombie anthology offers another diverse trilogy of zombie action.
Kicking things off is a Civil War adventure in which the forces of the South are cut off and facing certain defeat, until a surprise turn of events gives them a much greater advantage. The weary General is called to witness a dead child who is raised to life thanks to the witchery of a slave woman. This gives the South an edge in battle and they use the corpses strewn across the battle field one more time. Writer Ralph Soll and artist Unai give this nice tale with a twist a great approach, with an easy pace and suitably grimy art, reminiscent of Kyle Hotz.
The second short story is the conclusion to the 2061 saga, by writer Kim Krizan and artist Jon Reed. The central conceit of this mini-epic is that zombies are mutated cannibals and are now running earth. Humans are mere pets in this new society and live primarily as slaves and gladiators for their undead masters. It could easily be a mini-series by itself, especially with scarily amusing touches such as humans in a meat market, or in cages below “1/2 Off Veal” signs. In this finale a group of humans manage to escape from the gladiator pit, leading a makeshift revolt which causes the zombies to shuffle off. They are then chased outside of the city, thrown off a cliff and into the heart of a nuclear reactor. That’s when things get slightly confusing. What appears to be the leader of the human army throws herself into the zombie filled pit because “if it comes into contact with normal particles it will spark a reaction!” Um…okay. Well, that’s what happens which then in one last moment of “what the?!” the horde of zombies appear to travel through space and time to 2061 B.C. It’s a rather stifling end to what has been a grand concept.
The last story, entitled “Population Control,” is written by Bryce Carlson with art by Axel Medelin Machain. Set in the town of Adler Creek, it centres on two life long friends amidst a dwindling population. Jules and Benton eventually have a disagreement about staying in their hometown or leaving, with the survival of both sun scorched men on the line. So they do what best friends should always do – make sacrifices for the other one.
The art in this issue is similar between all three stories. It’s not highly polished, but it works in the zombie context. This issue is not the best of the series, but as a whole Zombie Tales is always a pleasant surprise in this era of comic book decompression. Instead of long, drawn out epics lasting years, BOOM! wisely give us a snack-sized alternative.
For a preview of this ish, go here.
I interviewed writer/artist Paul Sizer about his latest project B.P.M for the first issue of Extra Sequential, and he continues to belt out great work. Below is a pic of Loo from Paul’s graphic novel, Little White Mouse. If you want to see more of his work, head on over to his site or his sweet DeviantART gallery.
If you happen to live near Michigan, you might also want to check out the man himself, as he takes part in a panel for Michigan comics. Details below.
Michigan Comics: Mirth, Mockery, and Mayhem From the Tri-Coastal State show at Eastern Michigan University. Paul will also have 3 pieces that will travel with the show when it goes on the road.
Here’s the info for the event:
March 31- June 5
Michigan Comics: Mirth, Mockery, and Mayhem From the Tri-Coastal State
University Gallery
Reception: Tues., March 31, 5-7 p.m.
“Michigan artists and writers have created a significant body of cartoons and comics that is distinctive for its quality, inventiveness and variety. Unprecedented in its singular focus on the accomplishments of Michigan artists, this exhibition will be comprised of editorial cartoons, gag panels, comic strips and comic book art by fifty contemporary creators in the field, providing viewers with a opportunity to see the actual artworks instead of viewing them as reproductions in newspapers, magazines and books. Included in the exhibition are works by Dave Coverly (SPEED BUMP), Cathy Guisewite (CATHY), Jim Starlin (WARLOCK) and Mike Thompson (DETROIT FREE PRESS).”
Panel Discussion
Tues March 31, 7-8:30 pm. Student Center Ballroom B
Moderated by EMU professor, Dr. Richard Rubenfeld, this symposium will feature a panel of comic professionals, including Dave Coverly, creator of SPEED BUMP and Paul Sizer creator of B.P.M.
Now I can’t say I’ve been following this series of Noir titles from Marvel. Basically these different mini-series recasts familiar characters, like the X-Men, Spider-Man and Daredevil in the world of noir films and books, ie, a world filled with tough talking gangsters from the 40s and 50s. This title seems to be getting good reviews though, thanks to writer Fred Van Lente and the moody artwork of Dennis Calero. The conclusion to the X-Men reinterpretation goes on sale on March 11. By the way, if you don’t know how to pronounce noir (“nwar”) or what it is exactly, go here.
Top Cow is making a name for themselves these days as a publisher of in-your-face comics. With The Darkness, Impaler, Wanted and now this series, they showcase brutal stories in which characters are thrust into gloriously bloody worlds. Like the best genre films of the 80s, these concepts revel in over the top violence, which make you wince and laugh in equal doses. In a fashion similar to the previously mentioned titles, Berserker knows how to wrap such blood letting in an engrossing story. That’s the key to books like this. Devoid of a great premise, they simply become mindless gore fests. Berserker is a head above (pun intended) such exploitation and delivers the goods in a brief package.
With a well crafted story by Rick Loverd we are dropped into the action immediately, or rather Jorn Farris’ hypnotically induced memories of action. Sitting on a doctor’s couch for Post Traumatic Stress Disorder, Farris relives his time in Afghanistan as part of a military deployment. Kicking in doors and taking names (or prisoners, at least) Farris and his army buddies seem to be enjoying themselves too much until Jorn and his pal Clint become prisoners themselves after destroying a room full of unarmed men.
Finding the man they were after in an unconventional way, the two prisoners receive torture before Jorn wigs out – big time. Breaking his restraints like a madman he rips one of his captor’s arms off, punches another through the face and soon runs out of targets for meat tearing practice. His thankful and surprisingly calm buddy Clint then speaks up, assuming Jorn will free him and they’ll jet off to safety. Um…no. Poor Clint faces the wrong end of Jorn’s Hulk like madness himself and gets his head separated from his body. The end. Wow. Now comics like hyperbole, but I must say this last page is a stunner.
Jeremy Haun’s pencils with Dave McCaig’s colours really sell this tale. Sure there’s heaps of blood, but it’s not over the top. It all appears real and gives a horror edge to this military adventure. It’s filled with darkness and texture in the Afghanistan scenes and real emotion throughout its pages. By now, you’re guessing that this isn’t one for young eyes and you’d be right. Apart from the violence there’s also profanity one every page of this brisk tale.
This is a teaser for this ongoing series and it’s got me hooked. To fill out the pages there’s a great interview with Loverd and Haun, and also actor Milo Ventimiglia (Heroes, Rocky Balboa) and Ross Cundiff, both from DiVide Pictures. It’s a candid and revealing discussion about the unique Norse inspiration behind this book and is well worth a read. I know we fanboys are easily sceptical of actor’s names on the covers of comics, but Ventimiglia seems to know a good idea when he sees it and helps such concepts come to fruition in some form. His Rest series for Devil’s Due was another great concept, so the hunky actor has a good eye for ideas. Rounding out this 24 pager are interviews and art focusing on Top Cow’s upcoming Cyberforce/Hunter-Killer and War of the Witchblades series. Yes, it’s short on story pages, but makes up for it with cool extras an an action laden narrative.
I’m impressed with Berserker. It’s a great intro to a new series and should be lapped up by fans of Paul Verhoeven’s (Robocop) films. Hopefully it can live up to such high expectations. Check out Dale Keown’s two raging covers above, and an interview with Ventimiglia about this title here.
Well, not quite, but they might as well have called it that. The trailer for the next-gen console game Marvel Ultimate Alliance 2 has just been released -and it’s a doozy. It doesn’t look graphically superior to the previous installment, but I’ll definitely get it. Based on Marvel’s Civil War series (one of the best things they’ve done in the last few years) the game looks like it has Captain America and his team and Iron Man and his team facing each other in battle over the idea of superhero registration.
Like the first one, it will be filled with fanboy friendly moments and appearances from every character you can think of. I’m so there.
It’s a brand new, dark day in the Marvel Universe, and it’s creeping onto the footsteps of Marvel’s First Family.
Dark Reign: Fantastic Four #1 hits shelves on March 4. Writer Jonathan Hickman (Pax Romana, The Nightly News) and artist Sean Chen launch the new series as the FF find themselves battling H.A.M.M.E.R agents invading their home – the Baxter Building.
The series’ first issue has a gorgeous cover by Simone Bianchi (Astonishing X-Men) and a variant cover featuring Thing by Marko Djurdjevic.
See below for some text-free preview pages of this issue.
The first part of the four part Magnum Opus x-over begins in Deadpool #8 which hits shelves on March 4. Written by Daniel with pencils by Paco Medina the story continues in Thunderbolts #130, launching on March 18. That ish is written by Andy Diggle with art by Roberto De La Torre, and a nightmarish cover by Francesco “Matt” Mattina (see below). Also below are some text-free preview images, including a Deadpool cover by Jason Pearson (Body Bags). Pick up this x-over if you want to see Norman Osborn deploy his new Thunderbolts team at the Merc with a Mouth! Let the showdown begin!
I’ve read a few comic compilations as of late. They’re a great idea. DC’s Vertigo Trades (such as First Cut) which present first issues of ongoing series probably kicked off this mini-trend. Then last year they produced a few extra-sized Countdown Specials reprinting classic tales of the New Gods and Kamandi, amongst others.
Marvel has got in on the act recently. Last week’s Astonishing Tales #1 seems like a re-branded Marvel Comics Presents, with a few short stories from new and old creative teams. The premiere ish has a tale called Madripoor Mix-Up from C.B Cebulski and Kenneth Rocafort and is the highlight. Sure, Punisher and Wolvie meeting in a bar and trash talking ain’t new, but it was a pleasant surprise when they started to lay the smackdown on Hydra soldiers and their female leader, Viper. Rocafort’s energetic pencils and bold page layouts really give the story some needed zest. An Iron Man 2020 story by Daniel Merlin Goodbrey and Lou Kang is next, followed by one focused on his predecessor Tony Stark in a pre-Secret Invasion tale by Christopher Sequeira and W. Chew Chum. Finally there’s a Mojo-centric adventure with Sunspot and Cannonball, ex X-Force team mates. This is written, and partly drawn, by Jonathan Hickman and Nick Pitarra. Those unfamiliar with Hickman’s Pax Romana or ground breaking Nightly News may not like what they see here, but Hickman shines brighter in Secret Warriors #1. He’s adjusted to more mainstream fare very well.
I also picked up Marvel Your Universe Featuring X-Men #1, which is a new series, reprinting recent tales from a diverse array of titles. Included in the 128 pager are the debut issues of Nova, Ms. Marvel, and The Immortal Iron Fist, plus X-Men #208 and Ghost Rider #14, all with handy ‘Previously In…” guides. The comics industry needs more titles like this. Astonishing Tales is great for those already aware of Marvel’s epics, but the Your Universe books could easily garner new fans.
I get the feeling that I’m at the start of something special. It’s easy to picture this as a future TV series or film. Like Buffy, but with an ambition equal to her comics rather than the TV series, Hexed is smart and entertaining.
It’d be easy to let a concept like this get out of hand, or lose its focus, but writer Alan Michael Nelson knows when he’s on to a good thing and wisely keeps the spotlight on her. Hexed is a new four issue mini-series from BOOM! Studios that follows the supernatural adventures of a girl named Lucifer, (real name Luci Jenifer Neves) and her thieving career choices. Last month’s delayed debut ish ended with Luci diving into the guts of a corpse. However, as we discover in this issue’s opener, the corpse’s stomach is bigger than it seems, just like the TARDIS.
After an intro which sees two men in 1857 running from an unseen baddie, it’s obvious this issue will delve straight into darkness. There’s no sense of playfulness here like there was in last month’s offering. The two running men soon come to a brutal end, with one’s head exploding. His brother then takes a small golden globe and whispers their killer’s name into it, before the artefact flies to the heavens.
Cutting to the present, Luci is swimming in a foul crimson sea inside the corpse, hunting the golden item, which we discover is called the carasinth. She fights off a sting-ray type creature, grabs the orb and gets out of there, landing in an autopsy room in front of an understandably stunned pathologist. Luci has managed to please Dietrich, her former boss who forced het to steal the item, but at the same time enrage her current employer, Val. And with good reason, as one whisper of a person’s name into the carasinth means they become a deadly target.
Continuing her streak of attracting antagonism, Dietrich and his goons invade Luci’s home to take what they believe is there’s. Luci puts up a fight, namely biting a nose off a goon, but to no avail. Dietrich forces Luci to take him to a “harlot”, which they do via a magical mirror. Arriving at a mansion, they meet the ageing woman who calls Luci darling and welcomes her home.
The pace is quick in this second issue, since the series is half way over and there are a few more questions that need answering, such as what’s the deal with the mysterious “H” tattoo on Luci’s back, and just what is the relationship between the ghastly old woman and our magical heroine.
Emma Rio’s art is again top notch. It may be too sketchy for some, but coupled with Cris Peter’s luscious colouring the energy crackles off the page. Rios draws Luci like a normal young woman, and gives characters such as Val and Dietrich a definite look. The page design remains driven and the action seems violent, but not shockingly so.
This is a good series. The Buffy comparisons will continue, and I’m sure Nelson is probably sick of them by now, but that is a worthy compliment. There are well rounded supporting characters and genuine human interactions with unique supernatural tones. This series can only continue to become more engrossing.
Those whacky Watchmen marketing gurus have done it again. This viral video, direct from 1977 is all about the Keene Act and how upright citizens can protect themselves from nutty vigilantes. Or at least try. Done with great visual flair it looks like an authentic Public Service Announcement from three decades ago.
This is a great intro to comics for those that have fallen for Superboy and the Legion of Super Heroes, either from their recent appearance on TV’s Smallville or their great animated series that ran for two seasons.
The primary tale is a re-print from the classic Adventure Comics #247, written by Otto Binder with art by Al Plastino. I say classic, because this 1958 tale introduced the concept of the Legion (a team of 30th century teen super-heroes) into DC’s ever expanding Universe. Cosmic Boy, Lightning Lad and Saturn Girl were the first three members shown, though since their debut both the popularity and membership of the Legion has grown exponentially. Some may complain that this light issue features a re-print from the Silver Age and a mere 6 page back up, but it’s certainly worth the $1 US cover price.
I enjoyed the reprint. It’s…quaint and brought a smile to my face. Comics readers back in the 50s and 60s must have had a ball. There’s no hint of the darkness and convoluted narratives inherent in today’s “funny” books. It begins with Superboy flying around and meeting three different teenagers who know his secret identity. Shocked, the Boy of Steel learns that the trio are visiting him from the future and take him on a brief trip to show him their home. Here, Clark sees a Superboy robot being demonstrated in a class room, tries an “out of this world” ice-cream consisting of 9 different flavours from 9 different planets and eventually tries out for Legion membership. He aims to beat the three teens at their own games, as they only possess one super power each. He fails not by choice, but rather distraction, as in the course of the competition he’s distracted by saving the wayward Superboy ‘bot, a wayward satellite and a wayward invisible eagle of Neptune. That’s a lot of waywards!
Superboy remains quiet on why he lost and humbly accepts the Legion’s mocking. However, it turns out the trio caused all those distractions to test his heart, thus earning Superboy a medal declaring him, “Super Hero Number One,” which he waves infront of his unimpressed Dad.
Modern readers may too easily forget the genius of the Golden and Silver Ages in comic book history. Sure the tales are simple and the art ain’t flashy, but decades ago these creators gave the world concepts that have lasted. Despite the hokey dialogue and abundant use of thought balloons, and even the grand tones of a narrator, this was enjoyable. Today’s creators owe much to writers and artists of the past. They really are standing on the shoulders of giants.
The back-up tale is an original one, written by DC’s golden boy (with very good reason) Geoff Johns, who also penned the Legion’s Smallville debut. Art is supplied by Francis Manapul. This is the first Origins and Omens feature, which DC will use to set markers for the future of their books, focusing on the Green Lantern: Blackest Night event. It’s told from the point of view of Scar, a corrupted Guardian of the Universe. Lex Luthor, currently a prisoner uses his access to Braniac’s body to learn his secrets and fly the coop. However, Braniac awakens and wants none of that. It’s a vague hint for what’s next for the DCU. However, the last page, showing a glimpse of Superboy (who hasn’t been seen since his death in Infinite Crisis) looks like he’ll finally make a triumphant return, but as a possible pawn of the new Black Lanterns who use the dead for their own ends.
With a groovy Aaron Lopresti cover, in a homage to the often-imitated original, with American Idol undertones Superboy faces a thumbs down from the Legion’s judges. Underneath it is a brief comic, but a Superboy centered one showing his past and future. It’s cheap, so grab it.
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