Incorruptible #1 Review

It only seems like yesterday that a website opened up simply declaring, “Mark Waid Is Evil.” Some speculated that it was created by a group of fanboys who for some reason disliked the work of the legendary writer of Kingdom Come and great runs on The Flash and Spider-Man. What it really was was a clever marketing ploy from BOOM! Studios, the indie publisher that Waid is the Editor In Chief of.

The slogan proved true when Irredeemable launched (now in it’s 9th issue) from the writer and artist Peter Krause that focused on hero turned bad, The Plutonian. Like many others, I’ve been bowled over by the dark superhero series, and now it’s joined by a spin-off, Incorruptible. Also written by Waid, and with art by Jean Diaz this series is the other side of the coin, representing a villain turned hero in the wake of The Plutonian’s gruesome acts of destruction.

It begins with Max Damage’s gang pulling a heist, after waiting impatiently for their leader who’s been gone  a month. He now shows his new colours, and he’s on the side of the angels, surprising cops and villains alike in an impressive action sequence on a bridge. It’s then off to Max’s hideout where he shows his new attitude to his sidekick of sorts, the appropriately named Jailbait and a police captain.

It’s obvious that this ties firmly into the structure of Irredeemable and is definitely not just a mere tie-in series quickly pumped out to cash in on the success of that series. There’s no real hints as to Max’s origin, and we know from BOOM! that he changes his name from Max Damage to Max Daring, but that’s not set up just yet. In fact not a lot happens here. It feels like the first few minutes of a Lethal Weapon film; all action, high-stakes drama and tough men with weapons, but Waid makes it all so charming and appealing.

I like Peter Krause’s work on Irredeemable, but Jean Diaz’s work is superior. Overall, this series after only one issue, looks set to be even more grungier than it’s originator. Jailbait seems like a Garth Ennis character, and the conflict between our new hero and her, plus all his former villainous team-mates, and the distrust of the remaining heroes should play out brilliantly.

Plus that last page is a doozy and it appears as though Max’s early encounter with The Plutonian became his life turning moment with good reason. Irredeemable demands a high quality story of anything associated with it. Incorruptible looks to be a more than capable sparring partner.

December 22, 2009
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This Week’s Winners

The Complete Alice in Wonderland #1. Like most people, I am more familiar with adaptations of Lewis Carroll’s master work, rather than the source material. However, the faithful work that writers John Reppion and Leah Moore have done on this title is obvious from the die-cut cover, as Carroll’s name is above theirs. It probably means more to those who have read the novels, but there’s something quite odd and charming about this issue. I felt like I was reading a lost Monty Python script, with all the zaniness and seemingly random plot advancements. Choosing a manga artist was a bold choice that pays off splendidly. Erica Awano’s delicately flowing renderings are quite beautiful, and she’s aided greatly by PC Siqueria’s muted colours. The whole book is presented like  a centuries old bedtime tale. It won’t be everyone’s cup of tea, as essentially Alice falls down the hole and meets a bunch of different characters and has strangely lyrical conversations with them. She never has a panic attack, but recalls her family and talks to animals with child-like confidence. This is the kind of book that seems out of synch with all the other comics on the shelves, and that’s what makes it rather appealing.

The Brave and the Bold #30. I picked up last month’s team-up with Batman and one of DC’s forgotten characters, Brother Power the Geek last month and quite enjoyed it. J. Michael Straczynski continues his little character studies in this series here and fixes his focus on Dr. Fate and Green Lantern. Both characters are long-time faves of mine and JMS masterfully manages to give both characters equal billing and bring readers new to both up to speed. There’s no titanic tussles that we’d expect from a superhero tale, but rather a simple story which has GL stranded on a planet with his ring power failing, when the golden Doc shows up and the two reminisce and discuss the power of will and fate. JMS has a firm handle on these characters and distills their essence to put on the page with care and confidence. Anyone who’s seen Changeling (written by JMS and directed by Clint Eastwood) will understand how Straczynski can get inside a character’s head without ever being too obvious or schmaltzy. We should be thankful he applies those skills to comics.

Batman 80 Page Giant #1. Truthfully Batman only appears in 2 of these 8 short stories, but his supporting cast has always been rich enough to sustain themselves. The link between them all is that they’re set in modern continuity (ie, Batman is dead) and there’s a blizzard in Gotham. It’s good to see Commissioner Gordon and Mr. Freeze tangle again, and writers like Kevin Grevioux and David Tischman tackle Gotham’s cast, the latter in a tale focusing on Alfred’s friendship with a prostitute that isn’t as strange as it could’ve been. Amongst this collection is a variety of art styles, and the highlight for me would be Rafa Garres, and especially Kat Rocha and Josh Finney in their Catwoman tale. The partners (from Archaia’s great Titanium Rain) have a style somewhere between Alex Ross and Stjepan Sejic, though that description isn’t quite adequate. There are places where faces appear a little lifeless, but the duo work well together and bring a diversity to these pages.

December 19, 2009
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The Paranormally Active Engineer

I saw the much hyped low budget film Paranormal Activity last week, and though it didn’t terrify me, I certainly admired it’s film-making creativity. To read my review of the most financially successful film ever made, go here.

Up at the blog for Arcana magazine I also put up a preview of The Engineer, a great sci-fi series which is now available from Archaia for only $10. That’s a bargain for a full colour 128 pager.

December 16, 2009
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This Week’s Winners

Black Widow: Deadly Origin #2. Essentially this 4 ish mini is a simplified attempt at Black Widow: Year one, but it works. When Iron Man 2 debuts in May, with Scarlett Johansson as the Russian red headed spy, this will be a good place to start for those curious about the character. Paul Cornell manages to write an intriguing tale involving Natasha Romanoff aka Black Widow and never allows the flashbacks to her youth to get distracting. Of course, with Tom Raney on the art in the current setting and John Paul Leon on art chores for the flashbacks, it makes for a book as pretty as its titular heroine. Guest stars such as Hawkeye and Winter Soldier never seem jarring and Cornell has a blast making Widow a 007-like action girl with a unique Russian background. I’ve already learned a great deal about this character whom I’ve only ever been marginally interested in, such as the fact that she’s one of many Widows trained by the Soviets and has a long lifespan. #2 throws in some Cold War antics, the activation of the Icepick Protocol and a cool White Widow variant suit.

Toy Story #0. Bringing writer Jesse Blaze Snider to play in BOOM!’s kids line of comics seems like an odd choice, but now I can see why they chose him. Snider’s last work was the surprisingly good Dead Romeo mini-series from DC and here he kicks a new four issue arc off with great skill. Nathan Watson’s art is cartoony, but solid. Of course, it can’t be easy to replicate the 3D magic of Pixar, but each character is instantly recognisable. Woody and Buzz steal the show of course, but the whole gang (from the first film where this issue looks to be set) is here. The amusing chaos begins when Andy receives a new present from his grandpa, but unfortunately it’s another Buzz Lightyear figure. The two Buzzes have a rather funny duel and the voices of every character rings true. It was much funnier than I expected, and is another fast paced and entertaining entry in the BOOM! Kids line. Snider proves his diverse skills as a writer here.

Daytripper #1. Those talented Brazilian siblings Gabriel Ba and Fabio Moon launch a delightful new 10 ish series from Vertigo. It follows the life of an obituary writer in Sau Paulo who aims to be a disciplined novelist. Themes of family, life and death run through this issue, but never in a heavy handed manner. It’s quite enticing and very readable, with a magical quality to the art and a lyrical tone to the words. Where Ba and Moon go from the surprising ending will be even more intriguing I’m sure.

December 12, 2009
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365 Samurai Review

Every time I order through the mixed bag of the Previews catalogue I make sure to try a few new items. New series, new creators, new characters, new concepts or any combination of them all. For some reason I ordered this in one of my shopping frenzies and was pleasantly surprised when it arrived in my pullbox last week. 365 Samurai And A Few Bowls Of Rice by J.P. Kalonji not only has a unique name; it’s also (as far as I can tell) the first in the new Dark Horse Originals line. This is how Dark Horse describe the line:

Dark Horse Originals are kindred spirits with my favorite people precisely because they break the mold: They’re difficult to describe because they transcend whatever genre they start in, and the only thing they truly have in common is that they’re undiluted expressions of the people who created them. They often test the boundaries of the medium, challenging what you think comics can and should be…

365 Samurai definitely falls into that category then. Creator Kalonji is a Swiss artist who’s worked with Wyclef Jean, Burton Snowboards, Grand Prix Skateboards and Thrasher Magazine, and this is his first comic project. It’s quite a bold entry too.

365 Samurai possesses elements of Jeff Smith’s Bone and the anime Samurai Champloo in its look if not the sense of fun, but that’s the charm here – its visuals. The actual text in the almost 380 page story is minimal. In fact Arnie probably had more lines in The Terminator, but Kalonji’s obvious strength is his skill with design. Every page is a giant single panel (like the Supes/Doomsday  fight in Superman #75). That’s what gives the story it’s hefty nature, but also its quiet reflection and suspenseful build up to the next bloody fight. The main character Ningen is a deft (and none too handsome) swordsman in the Edo era of Japan on a search for enlightenment. Unfortunately that means killing 365 samurai. This paradox is never discussed in Ningen’s year long journey though. There are 4 loose chapters, one set in each of the seasons, but essentially the same things happen in each of them. Ningen walks, meets a girl, and kills some baddies. There are some touching moments, mainly revolving around Ningen’s female encounters and the unsurprising conclusion, but it’s Kalonji’s pacing and simple layout of every page that majors over these minor squabbles.

Obviously its a quick read despite its weight, but it’s one of those books that deserves a second read just to more closely enjoy the art on display, and thankfully there’s an 11 page sketchbook section included. Raindrops, blood, grass, mountains; it all looks good in the same way that Frank Miller’s Sin City does – bold simplicity. There’s few lines, but every character looks unique and emotions are clearly conveyed.

I hope Kalonji continues to unleash his talents upon more sequential art projects in the future. It’s always encouraging to see a new artist give comics a go.

See an over 30 page preview here.

December 7, 2009
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Last Week’s Winners

Star Wars: Invasion #5 CvrStar Wars: Invasion #5 by writer Tom Taylor and artist Colin Wilson. You’d think Dark Horse would be running out of steam with the Star Wars franchise by now, with series detailing all manner of eras and characters. Taylor and Wilson proved with this series that there’s still life left in it yet. By focusing on the new Galfrdian family and the larger assault by the vile, yet popular, Yuuzhang Vong race the pair have managed to knit new and intriguing elements into Lucas’ favourite playground. This last issue (for now, as the series will begin again early next year) has been a satisfying conclusion (of sorts) to this arc. Taylor has handled the older SW characters such as Luke, Leia and Han wisely, but not with kid gloves. It never feels like they’re on the page just to appear to traditional SW fans. However, with Finn and co. on board Taylor and Wilson show that the SW world is a varied beast that still has room for new concepts and characters that could very well live as long as their famous screen counterparts.

Psylocke #1 by Chris Yost and Harvey Talibao. Back in the day (ie, the mid ’90s) pretty much every X-character had their own mini-series without any real reason (apart from the obvious cynical one – $) and I thought this would be the same. It was, but I still enjoyed it. I’ve always had a mild fanboy crush for Psylocke. She is a hot Eurasian ninja after all. This first issue of four, is a great intro, or re-intro, to the character. It begins with a fight on the island of Utopia, before a flight to Japan with Wolverine, which leads to a run-in with the local authorities, a splendid bout with a few Hand ninja in a cemetery and a declaration of vengeance. Pyslocke’s narration offers the odd quip about souls and identities, which is fitting enough with an origin as complex as Betsy’s, and also included is the first part of a back-up series focusing on Cable and the young Hope. This is pencilled by Steve Dillon, which would be great in anything but a superhero book. It just doesn’t seem the same when he’s out of the more “realistic” worlds of Punisher and Preacher.

Pope Hats #1 CvrPope Hats #1 by Ethan Rilly. Every month when I do my ordering from Previews, I make sure to support at least one indie title. That was the reasoning behind this purchase. They’re not always nice surprises, but you got to try. There was a slight feeling that I was missing something here, like beginning with Season 2 of a TV series, but overall it was enjoyable and funny. Centering on a young woman named Frances, her drink-loving friend Vickie and an odd ghost that only Frances can see who offers random statements (“Sometimes I go into the woods and carry  a bear on my back.”) it makes for a light, and amusing tale. Essentially filled with scenes of conversation with dialogue that Kevin Smith would be proud of the black and white approach to the art is just as simple as the narrative, but it all hangs together well and seems like the kind of witty and off-beat story that you’d find in the arty section of your local Blockbuster.

November 14, 2009
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This Is It Review

This Is ItAfter watching this Michael Jackson memorial/documentary/concert film, you’ll know at least two things: the King of Pop deserves that title and his London shows would have been spectacular. However there’s no sadness haunting this almost 2 hour long flick. No “R.I.P Michael Jackson-1958-2009” or any such sentiment. There’s no mention of the controversy surrounding him, or any looks at old photographs of his childhood. In fact nothing is actually learned about the legendary entertainer himself. However we are presented a side of Jackson that we’ve never seen before. In This Is It he looks surprisingly …normal.

He laughs with the concert’s co-creator and director of this film, Kenny Ortega as well as his obviously grateful dancers and band. Jackson doesn’t talk a lot, but is very humble and thankful, and at 50 years old is still as good as ever in this film. He dances like no-one else (but I didn’t spot a Moonwalk) and gives his all throughout the rehearsals in California’s The Forum and Staples Center presented here, apart from the occasional vocal break to save his voice for the show itself. Mostly This Is It consists of Jackson and dancers performing infront of an empty arena and all the hits (Beat It, Earth Song, Billie Jean,etc) sound great.

The toe-tapping film is only in cinemas for 2 weeks, but it has the feel of a DVD extra with its behind the scenes approach. The DVD will be released early next year and for Jackson fans it’s a must have item. It’s not necessary to see it in the cinema unless you can’t wait until next year, but the extra bits made specifically for the concert, such as the 3-D Thriller piece, serve as a reminder of what an awesome show this would’ve been. Jackson truly was a legend and there won’t be another like him. This Is It serves as a tender acknowledgement of the man’s gifts. Simply, Jackson was born to do this and doesn’t want to do it alone. The staff around him are understandably slightly awed in his presence, but he offers only love, with “God bless you,” and “I love you,” being his favourite phrases. The man was a master at his craft and we should be glad that we have this final glimpse of him at work.

November 4, 2009
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Robot 13 #2 Review

At Broken Frontier now is my review for Robot 13 #2, the self-published adventures of a skull headed robot from Thomas Hall and Daniel Bradford. It really is  a great series, filled with Mignolaesque style and grand storytelling. Read my review here.

Robot 13 #2 Cover

October 26, 2009
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Isolation Review

Isolation FilmThis film was made in 2005 and screened at the Fantastic Fest film festival a year later, winning best picture and best director. It deserves it. There are so many gems like this that get overlooked, and it’s also one of those films that you recommend to everyone you know – thus this review.

For some reason it was a new release at my local Blockbuster, but we do tend to get films later than everyone else in Australia. I like the odd horror film and this is nothing like any other recent entry in the genre. There’s no masked killer, no attractive girls running through the forest and no creatively vicious deaths.

Isolation is an Irish film written and directed by Billy O’Brien (who has criminally made nothing since for some reason). It really is an edge of your seat thriller with an indie film approach and the suspense of Hitchcock at his best. There’s not a huge cast, or lots of eerie music, and it’s arty look makes it immediately leave all standard slasher films in its wake.

Now, here’s the hard sell. Isolation is set in a remote farm where a genetically engineered cow gives birth to something rather nasty, and blood and terror ensues. It may seem like a laughable concept but it’s anything but. There’s definite nods to the classic Alien and even though it’s set in a somber and muddy place the farm looks textured and claustrophobic. I was genuinely surprised a few times and the make-up effects are subtly gross, but don’t worry there’s nothing resembling a cow on its hind legs squirting acid from its udders. It’s a slow burn with engaging characters in a desperate situation.

Just watch this film if you see it on the shelves. It’s a daring approach in a genre that too often tries anything but.

October 23, 2009
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Superman/Batman: Public Enemies Review

Superman/Batman: Public Enemies DVDAwesome. Just awesome. The beauty of these DC animated films is that each one is so unique in what it reveals about the DC Universe. Superman/Batman: Public Enemies is a quintessential blockbuster. If Jerry Bruckheimer teamed up with Dan DiDio, this would be the result.

Of course, the pedigree of this film is much loved, as well it should be. The Superman/Batman comic series was launched by writer Jeph Loeb and artist Ed McGuiness in 2003 and is a favourite of mine, and may others. Those first 6 issues showed the great heights to which comics can attain, and highlighted the different centres between the 2 lead characters, thanks to Loeb’s specific inner monologues for both.

This film adaptation may only be just over an hour long, but it’s thankfully very similar to the plot of those 6 issues. After James Bond-like intro credits, it begins with a brief montage showing the current state of the U.S (ie, an economic disaster zone) which leads to Superman baddie Lex Luthor becoming President . This was an all too short plot device in the comics, but it did deliver gold, like in this story. Luthor uses his newfound power to frame Superman for the murder of Metallo and the paranoia from an oncoming kryptonite meteor to offer a $1 billion bounty for Superman and Batman, as enemies of the state.

Solomon GrundyFor those that fondly recall the initial series, you’ll be pleased as punch to know that all the good stuff has been pulled from the page to the screen. The kryptonite bullet, Luthor injecting himself with liquid kryptonite, the clash with Captain Marvel and Hawkman, Hiro the new Japanese Toyman and his giant robot. It’s all here. However, new fans will be lost. With all the supervillain and hero cameos, there are no expository speeches detailing their origins, powers or even names. A nice touch would’ve been a bonus feature with such info, but the curious can always read the TPB collecting the comic series, and go from there. There are also hints at Superman’s death and his romance with Lois, but again, these are for fanboys joy only. However, who can deny the joy of seeing so many cameos minute after minute? Mongul, Black Lightning, Gorilla Grodd, Nightshade, Power Girl (voiced by Smallville’s Alison Mack) and many more make any fanboy heart gleeful.

Public Enemies is a lavish film, filled with Ed McGuiness-styled looks and action packed direction by Sam Liu. Tim Daly, Kevin Conroy and Clancy Brown are back from their respective Superman: The Animated Series and Batman: TAS. It’s great to hear, and see these characters on-screen again, as Supes, Bats and Luthor.

Lex Luthor Power SuitThe 2 disc version comes with some great features that are a delight to any veteran DC reader like me.  Disc 1 has a look at the current dead-risng epic Blackest Night, with interviews with writer Geoff Johns and DC head honcho Dan DiDio. There are also looks at the four previous DC animated films (Batman: Gotham Knight, Wonder Woman, Justice League: The New Frontier and Green Lantern: First Flight) though these are not new. Trailers for Fringe, GL: First Flight and the stand-out Batman: Arkham Asylum game are there too.

Disc 2 has an interesting feature looking at the different mindsets of the two caped heroes, a casual Dinner  With DCU feature, in which casting director Andrea Romano, Batman voice actor Kevin Conroy, producer Bruce Timm and DC Exec. Gregory Noveck drink coffee and discuss their long running animated ventures. Also included is an exciting look at the next DC animated feature, Justice League: Crisis on Two Earths, which looks to be even better than this one. Two episodes from Superman: TAS, hand-picked by Timm are thrown in for good measure. They are Knight Time and The Demon Reborn and each episode feature the two heroes teaming up, with The Demon also including a Ra’s Al Ghul cameo and the sometimes humorous Knight featuring Clark impersonating Batman, with a little help from Robin and a little trouble from The Penguin, Riddler and Bane.

Really, DC are proving they’re on to something with these films and each one feels like a grateful nod to DC fans. Hopefully they serve to entertain the DC-curious too. If any of Warner Bros. live action attempts comes even close to this, then the man on the street will proudly become more familiar with DC characters rather than Spider-Man and Wolverine.

October 17, 2009
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Bets Are Off/Cakewalk Review

One of the many items I picked up at Comic-Con was this little gem. Creator Nate Powell recently won the Ignatz Award for Outstanding Artist and his awesome Swallow Me Whole (which I reviewed for Extra Sequential #3) deservedly won the Eisner at the Con in July. With this self-released 32 page zine, you’ll find two tales, in a flip book format, adressing similar youth uncertainty as seen in Swallow.

Powell, who expands his cool factor by being in a band called Universe, has such a distinctive style that colour seems just unnecessary. The wonderfully fluid lines, the slightly sketchy textures and the abandonment of typical panel borders that show in his work add to the meandering narrative that blurs fiction and fantasy.

Cakewalk/Bets Are Off

Cakewalk is written by Rachel Bormann and is certainly the highlight. Young Sara puts charcoal on her face and dresses up like Aunt Jemima, an African-American stereotype from America’s less tolerant roots. Now, being an Aussie I’m only vaguely familar with the association of the name (and my countrymen’s recent Hey, Hey It’s Saturday black-face sketch isn’t helping to educate us), so perhaps Americans may bring more emotional content upon reading this short tale. Apparently the term Cakewalk refers to a dance done by slaves in plantations in the 1800s. However, there’s no prior info necessary to enjoy this tale. Powell uses so few lines to such great effect that you can’t help but feel sorry for Sara and the rude awakening she receives from her students and teachers. She only wanted to be unique and daring like the character she’s dressed as, but amongst the vampires and Ninja Turtles she just comes off as an accidental racist. Bormann scripts it perfectly, chronicling the tragic steps of a young girl’s descent from naivete to adult truth.

On the flipside is Bets Are Off, all by Powell. Whereas he uses a lot of white in the Cakewalk pages, Bets is filled with black. The 9 page tale follows a young couple leaving home and is based on a song entitled The Get-Away by Pretty Girls Make Graves. It’s not as powerful as Cakewalk, but the lyrical dialogue gives it a certain emotional resonance.

If you’re a fan of Jeff Lemire’s work (The Essex County Trilogy, Sweet Tooth) you’ll find anything by Powell hard to resist. Both men show an uncanny ability to make only a few pages land with a thud. For more of Powell’s work, check out his awesomely-named website.

You can grab the Cakewalk/Bets Are off flipbook for only $2.50 from Microcosm Publishing.

October 14, 2009
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Haunt #1 Review

Haunt #1 CoverRightly so, there are big expectations for this new ongoing series from Image. Writer Robert Kirkman has become an indie darling with the success of his Walking Dead and Invincible series. One is a dramatic zombie epic, and the other is a bloody superhero epic, but they both show Kirkman’s skills at generating interest in unique characters in a new comic series, and that is something extremely hard to do in today’s funnybook climate.

His co-creator on Haunt, and inspired by Kirkman’s gauntlet throwing to get him back in the biz, is Spawn creator Todd McFarlane. McFarlane hasn’t been a regular writer or artist for years, and although he’s not the penciller on this series, it still smells of McFarlane’s influence. And that’s a pleasant odour.

Living up to the hype, the first 3 pages are a treat. A woman, a man, a cigarette moving to reveal the “holy” job of the man – it’s all a subtle set up that hooks you immediately. The priest, Daniel is then party to a confession by Kurt, his military brother, which is revealed to us via flashback. The next few pages are like something from a Tarantino film with a Bruckehimer budget, and it’s all good. Kurt climbs out of a body bag, “rescues” a scientist and a few of his test subjects and the shooting begins. It’s all rather bold and boisterous, but very enjoyable.

Then as Kurt leaves the church he’s kidnapped, tortured for the whereabouts of the scientist’s notebook and killed (off-panel). Daniel begrudgingly visits Amanda, Kurt’s widow and Kurt shows up, obviously causing Daniel to ask himself if he’s crazy, as it appears no-one else can see him.

The bad guys chasing the notebook appear, ready for more brutal intimidation, and just when you think that the loose Spider-Man/Spawn hybrid character on the cover won’t show up, he does, in a rather surprising fashion.

Capullo’s layouts combined with Ryan Ottley’s (Invincible) pencils and McFarlane’s inks make for a true visual feast. At first I was hesitant to give this series a chance as it seemed like a dull nod to the very early days of Image, when dark heroes with brutal methods were a dime a dozen, but these gentlemen combine to form a dynamic creative team. It’s never over the top just for the sake of it and Kirkman’s script whisks us away every few pages to a new scene and characters without ever muddying the waters of simple storytelling.

Of course, it all looks great, but it doesn’t cast that generic, cross-hatched look I was expecting. Too many cooks don’t spoil the broth in this case. Ottley, Capullo and McFarlane make every page detailed, visually interesting and unique. People look like people. There’s no over-exaggerated musculature and the sole woman who appears in full, looks normal. The action scenes in the secret bunker are laid out with just as much flair as the dialogue scenes in the church, limo and lounge room.

Kirkman manages to ditch any lengthy exposition and just focus on a character driven action yarn with much bravado. It makes for a seamless and intriguing narrative. Consider me hooked.

October 7, 2009
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Die Hard: Year One #1 Review

Die Hard: Year One #1 Cvr AWhen I first saw this series promoted I thought it was a rather strange choice for a new title from BOOM! Studios. However, they have proven themselves to be the master of gaining audiences with a diverse array of popular franchises. Die Hard: Year One can now stand proudly alongside the other licences in BOOM!’s bow, such as The Incredibles, Farscape, Toy Story, The Muppet Show and others.

Granted this could easily be a generic cop series. The character of John McClane, as faithfully portrayed in the 4 Die Hard films, isn’t necessary here. An original creation could work just as well, but to paraphrase Michael Scott from TV’s The Office, there’s a big difference between the first Die Hard film and 2007’s Die Hard 4.0. The 1988 classic that introduced one of the best action films of all time was a far cry from the Arnie and Sly dominated films in the years before it. New York cop John McClane was just a normal guy who wanted to spend the holidays with his family, until a gathering of Euro-terrorists ruined his plans and forced him to kill bad guys in an increasingly desperate fashion. He was no superhuman, just a poor guy in a vest with bleeding feet. The 2 sequels in the 1990s still kept this underdog persona largely intact, but Die Hard 4.0 was a departure. All of a sudden, McClane was no longer squirming through vents, but was driving cars into helicopters and surfing on the wings of a fighter jet. Sure, it was still an entertaining film, but 19 years after the original it was obvious how far Hollywood’s bloated tendencies, and audience expectations, had come.

So, kudos to BOOM! for bringing McClane back to his humble roots. The Year One tag is a popular one in comics, thanks to Frank Miller’s and David Mazzucchelli’s Batman: Year One mini-series in 1987 that explored the origins of the Dark Knight, and was later referenced in Batman Begins. For BOOM! to cast a look back at McClane’s early years as a rookie cop, rather than creating Die Hard 5, or 6 or 7 is a bold choice. It works though, as it distils what audiences so loved about the first film. This first issue (of 4) evokes the reality of the original, rather than the Hollywood veneer of the last sequel and that’s what makes it such a welcome breath of smoggy New York air. Writer Howard Chaykin is an unusual choice for this project, as his usual work veers more to satire and dark humour. He does a splendid job here though and firmly, and easily, establishes the reality of the premise. I can see this series will be like any Robert DeNiro film of the last 15 years – downtrodden cop in a big city facing the chaos around him with wits and a service revolver, but so far it has a certain style and rugged charm.

Die Hard: Year One Cvr BThe art is simple, yet evocative. Similar to the broad, somewhat sketchy style of John Paul Leon, artist Stephen Thompson mires every page with the truth of living and working in one of the world’s busiest cities. It’s never bright, or stylized, just – real. The main character doesn’t necessarily look like Bruce Willis, but if you want to see a younger version of the man himself, you can always check out his new film, Surrogates. Matthew Wilson’s colours show harsh sunshine and crowded streets with relish, and the occasional use of Benday dots give the pages a nice nostalgia. It really looks like 1976, especially with the little touches like the fashions and the old school clock radio effect to show the passing of time.

This premiere ish begins on the morning of July 4 in 1976 and we immediately learn that McClane (who I don’t believe we’ve ever seen in a cop uniform on screen) has presumably fought in the Vietnam War and is now a fresh cop on patrol. Chaykin captures the tone well and sets the grubby ’70s New York scene firmly in place, with both McClane’s captions and those of the unseen narrator, plus the vivid characters scattered throughout the tale, conjuring up a well-paced, never heavy experience. I’m sure the dubious cops, and various characters who briefly appear, such as the rich old guy and scared girl new to the city will all come together and something bad will happen, with McClane caught in the middle. So far, not a lot of McClane is shown, but that’s OK, as the cogs of the story are obviously clicking in to place. This is a tale that is different enough in tone to not only everything else BOOM! puts out, but most of what is on the stands today, that it’s a pleasure to read.

October 1, 2009
Categories: New To Comics?, Reviews . Tags: , , . Author: Kris Bather . Comments: Leave a comment

This Week’s Winners

Blackest Night is the best DC event since, well, ever. Infinite Crisis was too convoluted to be enjoyable but Geoff Johns excels at the kind of straight forward storytelling approach that is an unfortunate rarity in comics today. Even the few mini-series tying in to Blackest Night, such as those involving Superman and Batman are enjoyable. It is with the former that James Robinson is doing some great work. Far greater than his Cry For Justice mini-series, Blackest Night: Superman #2 (of 3) is by Robinson and artist Eddy Barrows. It begins with a few pleasant scenes in Smallville, and you just know that’s not going to last long. Soon, Superman and Superboy team up to fight another risen from the dead character – the Superman of Earth 2, Kal-L. The black power rings that reanimate and corrupt dead heroes, villains and supporting characters from DC’s storied past is a great way to get around the whole “revolving door deaths” of superhero stories, and it works well here, with a menace that has been seen in every Blackest Night tie-in. Psycho Pirate inflicts his emotions on Smallville’s helpless citizens, while the three “Supers” battle above. Then a teary Supergirl shows up and is hopeful yet horrified to see her recently killed father standing before her as a grinning skeleton. It ends with the also risen Lois Lane of Earth 2 hunting Martha Kent through a cornfield and ends on a page that is funnier than it’s supposed to be, with the elderly Martha doing her best action hero portrayal.

Robinson and Barrows work well together. Barrows in particular makes the most of the darkness in the tale and makes everyone look frightening. Well, everyone except Martha Kent. He also shows superb control of page design in the many fighting/chasing scenes, adding to the desperation for survival.

The New Avengers #57 is another pitch perfect Brian Michael Bendis tale. He’s essentially Marvel’s version of Geoff Johns – a popular writer who respects the past but is creating the future. With The New Avengers he doesn’t let himself get too talky, but gets straight to the nuts and bolts of superhero shenanigans. The handy intro page in each issue is a worthy addition, as the cast of characters grows every month, but Bendis makes it work. He gives each character their own voice (Spidey’s wit, Luke Cage’s toughness, Norman Osborn’s arrogance). There’s more spandex wearers fighting each other in the streets than Civil War but with Stuart Immonen’s grand and fluid pencils on display it all looks so elegant and dramatic. The New Avengers are powerless, as are their enemies Osborn’s Dark Avengers, all thanks to some renegade baddies with a high-tech gizmo that takes powers away. Everyone is desperate for victory and Osborn makes a deal to ensure he gets his, as does Luke Cage. Every time I read this series, I wish JLA could be this good.

Secret Origin #1 CvrSuperman: Secret Origin #1 is the premiere ish of a new 6 part series re-telling Superman’s origin. What, again, I hear you ask. Yes, that’s what I thought to. I mean, Mark Waid’s Birthright did the same thing not that long ago, and John Byrne’s Man of Steel did it before that. However, a lot has changed in the DCU since Byrne’s bold 1986 series that reintroduced Superman after Crisis on Infinite Earths that changed everything in its wake. Geoff Johns proves me wrong in the first few pages. Where the 12 issue Birthright got it wrong was that it took too long to get to the juicy parts. Johns knows that we are all very familiar with Superman’s origin after 80 years, so he hits the ground running. This debut ish begins with young Clark Kent discovering that he’s different when he accidentally breaks his friend Pete Ross’ arm, and expels heat from his pupils after his first kiss with Lana Lang. Then his parents give him the talk and show him the rocket he arrived in. Clark’s upset when he sees it and activates a holographic message by his Kryptonian parents. Johns continues to wear his love affair with the Silver Age on his sleeve, and keeps most of what readers of Superman comics from the 1950s and 60s would be aware of, but also puts a contemporary spin on it. There’s nods to Braniac and Doomsday, and even Smallville, with Clark meeting Lex as a child, and his rescue of Lana from a tornado. Jor-El and Lara look like their versions from Johns’ recent Last Son storyline and artist Gary Frank is proving himslef to be the premiere Superman artist these days. The last page in which Clark puts on the Superboy costume for the first time truly reveals Frank’s grasp of pre-teen awkwardness and was a pleasant surprise. It appears as though Johns is going to rocket through this origin tale in only 6 issues and I’m glad.

Secret Origin #1 p1

Secret Origin #1 p2

Secret Origin #1 p3

Secret Origin #1 p4

September 27, 2009
Categories: Comic Art, Reviews . Tags: , , , , . Author: Kris Bather . Comments: Leave a comment

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