Here’s my review of this latest English adaptation of the adventures of feline detective John Blacksad. It’s a noir filled beauty.

Here’s my review of this latest English adaptation of the adventures of feline detective John Blacksad. It’s a noir filled beauty.
At Broken Frontier is my review of Justin Randall’s sequel to his Changing Ways OGN.
At Broken Frontier you can catch my review of Dark Horse’s new series The Massive from Brian Wood and Kristian Donaldson. It’s a great read. The comic, not my review.
Zombie Cities is exactly as it sounds – it’s zombies in cities. It’s much more exciting than it sounds however, with more epic action and exotic locales than a James Bond film. There are seven stories within this 104 page fast paced fiction of flesh eaters, and unlike most anthologies which are filled with hits and misses, the quality leans much more on the “hit” side here.
The first tale is very Australian, like the publisher Silver Fox Comics, and sees zombies rampaging across Sydney including landmarks such as Luna Park, and the Harbour Bridge. The pace is relentless as we are introduced to a cast of colourful characters including a weather girl attempting to interview a zombie, some teenagers on a disastrous night out, and a grizzled father who uses a cricket bat as a mean weapon. The second story is creatively titled Yes We Can Kill Zombies and is centred on President Obama and his struggles to lead his country post-zombification. It has a slower pace, but a greater emphasis on dialogue and character, with Obama taking some clear, and surprising, action in a desperate effort to unite his nation.
Blood at Bondi is concerned with the return of a long missing lifesaver on Bondi Beach, and Horror at Hirajuku is madcap fun, with three teenage girls in Japan mingled with generational family issues, whacky fashion, and George Clooney spruiking an eyeball food outlet. God Save The Queen is a deliciously thrilling drama focused on the ghastly secrets of the royal family. The New York set If I Ca Kill ‘Em Here, I Can Kill ‘Em Anywhere follows the aftermath of the assassination of the NY mayor who instituted a radical law to rid the city of zombies, namely that for every zombie you kill, if there are no living relatives, you are allowed to claim their assets. Finally Voodoo Zombie Racer focuses on a reanimated racing driver in Rio de Janeiro.
Sorab del Rio is the sole writer on all the offerings here, except Horror at Harajuku, which is ably co-written by Mladen Luketin.
There’s a sense of madcap fun running throughout every story here with a great mix of drama, action and dark comedy and with only a few pages to set up unique characters and situations, it’s impressive that each story can stand on its own as a memorable take on this increasingly popular sub-genre.
The art is, as to be expected from any anthology, a diverse offering, but the highlights are Mauro Barbieri’s slightly cartoony, exaggerated approach in God Save The Queen, and the work of Netho Diaz who gives Obama a superb likeness, and also brings detail and realism to the New York story.
As a piece of design, Zombie Cities’ streamlined approach works a charm, from the hard to resist cover, to the simple, and appropriate diagrams used as chapter breaks.
Rounding out this collection are some amazing pin-ups reflecting the stories in the preceding pages, and a few answers posted on Silver Fox’s Facebook page about why zombies are just so darn appealing. Some may expect that there are simply no more stories to be told regarding the undead but Zombie Cities proves in an entertaining fashion that thankfully just isn’t true.
Zombie Cities is a full colour original graphic novel and will be available at the Supanova convention in Sydney, and at Kings Comics.
Two new all-ages comics arrived this week from DC Comics.
Superman Family Adventures is for those who loved the awesome and entertaining Tiny Titans comic, by Art Baltazar and Franco. Sadly, that series has ended, but happily, the same creative team are now giving us this monthly series focused on The Last Son of Krypton and his various S shield wearing heroes. Like Tiny Titans, it features in-jokes for the grown up fanboy but is also accessible enough for the young fanboy-to-be. The simple, cartoony and colourful visual style is a treat, as is the crude yet appealing lettering. Superman and Supergirl are sporting their New 52 costumes, and Superboy and Krypto show up too when Lex Luthor sends three robots to destroy Metropolis. Perry, Jimmy and Lois (and Clark) show up as well. It’s a simple, yet great story, with Lex’s pride being his undoing as he accidentally gets the powers of Krypto rather than Superman. There’s also a fan art page, a maze and a few pages advertising the characters of Young Justice, including new members Beast Boy, and Blue Beetle! It’s great to see comics like this and it’s great to see that there’s an audience for it.
DC Nation Super Spectacular is a 64 page, full colour magazine that’s based on the new block of programming that features short animated features, claymation and behind the scenes segments all about DC Comics. Like the series above, it’s another good idea to familiarise, and hopefully hook, new readers. The three comics in these pages are all reprints, but at least they’re new ones, showing Young Justice fighting Psycho Pirate, a Green Lantern story by Baltazar and Franco in a style that more closely resembles the new GL cartoon, and a Teen Titans story in which Beast Boy reveals his origin around a campfire. They’re all fine stories and introductions to the characters though.
Also included is a GL poster, a 2 pager on the Aardman Animation claymation DC Nation shorts, a find the words puzzle, a few pages on the goodies and baddies of the GL toon, plus one on Plastic Man and his villains, another 2 pager on the Super Best Friends Forever (Batgirl, Supergirl and Wonder Girl), and that’s about it. It’s not exactly filled with enough content to keep the kids busy all afternoon, but it does get me curious about DC Nation, and I hope it gets shown here in Australia, as there’s enough fun shorts for everyone, and a focus on minor characters like Plastic Man, and Animal Man. I hope future issues of this mag will see original comics though, but overall this is a good entry point into the wider DC pantheon.
Catch two recent reviews of mine at Broken Frontier, including the sleazy supervillainy of Unmasked #1, and the new surprise thriller mini-series Dancer, from Image.
Here’s my review of The Almighties, an Avengers parody. Check out some preview pages below, and free pages called Almighties Origins at the official site.
Time for three quick reviews, although this first one came out last week.
X-O Manowar #1. Valiant was one of a few publishers that launched in the 90s and Naughties but didn’t last. Now, they’re back, with this title as the first off the rank, and familiar series Harbinger, Bloodshot, and Archer & Armstrong on the way in the coming months. Firstly, I’m not aware of Valiant’s past work, so the nostalgia appeal has no sway with me, but I picked this debut up thanks to its creators. Robert Venditti wrote the excellent The Surrogates, and The Homeland Directive. Artist Cary Nord has done great work on Conan recently for Dark Horse.
The idea behind X-O Manowar is a good one, and is deeper than “man in hi-tech suit goes on adventures.” This is more than Iron Man-lite. The main difference is the man under the armour. He’s a barbarian from 402 A.D. That’s a nice touch. We open with a battle between the huge Roman army and the unprepared Visigoths. Aric is a heroic blonde Visigoth who is up to the challenge of taking on the invaders and rallies the army with a Braveheart-like speech. Amidst the bloody battle, some aliens descend and genetically tamper with the villager’s babies, and take Aric and his mates prisoner aboard their space heading vessel. While there Aric sees a bizarre ritual which will lead nicely to next month’s issue. There’s not much made of the humans’ reaction to all the sci-fi around them, but the collision of these two cultures is an intriguing concept. We don’t even see Aric become X-O which is another good choice, as Venditti allows us to care about the man before he becomes the hero.
Nord’s art is great, although not as detailed as his Conan work, but his pencils on the battles in the first half are splendid.
See a 6 page preview of this issue right here.
Avenging Spider-Man #7. This is the first issue I’ve picked up of this new Spider-Man team-up series since the debut, and again, it’s due to the creators, writer Kathryn Immonen, and artist Stuart Immonen. This series is a more accessible, light-hearted approach that features Spidey going on adventures with different superheroes of the Marvel Universe. It’s a great intro to the bigness of Marvel’s roster of characters, much like Batman: Brave and the Bold is to the DC Comics Universe. This issue has a nifty recap page that tells you the basic about Spidey, this issue’s guest star She-Hulk, and umm…cats, because cats are important in this tail, umm…tale.
The story centres on Hulk’s cousin and the Webslinger fighting a big fishy creature in a sewer and then going to a museum where the Egyptian goddess Bastet shows up and things go nuts. The Immonen’s work very well together, with Kathryn’s script showing Spidey’s casual approach to crimefighting, and She-Hulk’s exasperation at the same, and Stuart’s kinetic visuals, including the fact that she’s taller than him is a great touch.
See a preview of this issue right here.
Frankenstein Alive, Alive! #1. Steve Niles and Bernie Wrightson know horror and show it here in this premiere of the IDW mini-series. Under the cardstock cover are many awesome black and white pages brimming with moody, eerie and creepy darkness and danger. This is a sequel to Mary Shelley’s original novel and looks at what happened to Frankenstein’s monster after the events of the classic book that introduced him to the world. Here, he is an a attraction in a freak show, finding some sort of life, and family at the circus, although the bulk of the issue is an origin tale of sorts as the monster talks to the ghost of his creator, Victor Frankenstein. Also included is a chat between the creators about their experiences with old Frankenstein movies, and a few letters that Mary Shelley’s brother Robert wrote to her.
Niles gets the voice of the time period well, and the monster’s inner dialogue is deeper than his few words of grumbling dialogue, and of course it looks well, especially in the rich black and white, with all the vast icy landscapes.
See a preview of this issue right here.
57 mins. Yes, it’s the big finish, our fond farewell, our last hurrah. In our most rambling episode yet, we talk about a bunch of comics, Turok, the master of sit-com theme songs, an awkward Italian song contest, David Bowie’s wife, Michael Jackson as Spider-Man, alternate cinematic realities, and much more! Fare thee well and thanks so much for listening!
LISTEN TO IT BELOW
You can email us at kris (at)extrasequential(dot)com and befriend us on the NEW ES Facebook page.
2:10 NEWS
Joss Whedon’s film Cabin in the Woods will actually get a limited theatrical run in Sydney and Melbourne
The Dark Knight Rises, and The Amazing Spider-Man trailers
Mark Waid’s comics website, Thrillbent launches
Charles Burns’ upcoming The Hive
Free Comic Book Day thoughts
14:33 WHAT WE’VE BEEN READING
Buffy Season 8 motion comic. A must for fans of the TV series.
Perfect Strangers: The Video Game. “Nothing’s gonna stop me now!”
Road to Perdition. Featuring a baddie Daniel Craig.
Archaia’s great Hard Cover freebie.
The Strange Talent of Luther Strode. Blood, and stuff.
Daredevil Volume 1. Mark Waid, Marcos Martin and Paolo Rivera bring the fun back to superhero stories.
The Cartoon Crier. Depressing, but free!
Showcase Presents The Spectre. 620 pages of righteous vengeance and criminals getting their gruesome comeuppance!
70 mins. How many movies based on comic books have there been in the last few years? Heaps. How many of them have been awesome? Far less. We offer our ten fave films, and not many of our selections feature superheroes! Also, Katrina and the Waves, and a dancing Emperor Palpatine.
LISTEN TO IT BELOW
You can email us at kris (at)extrasequential(dot)com and befriend us on the NEW ES Facebook page.
WHAT WE’VE BEEN READING
Eric Powell’s The Goon #39. Funniest superhero pardoy. Ever.
Star Wars: Blood Ties-Boba Fett is Dead #1 from Tom Taylor and Chris Scalf. A cool whodunit in space.
Joe Sacco’s journalistic comic Footnotes in Gaza.
Seizure magazine writing competition.
China Mieville’s Embassytown.
11:30 NEWS
Fox announced an Axe Cop animated series! Oh yeah.
Carla Speed McNeill’s Finder: Voice becomes LA Times’ Best Graphic Novel
Free Comic Book Day on Saturday May 5
15:28 THEME – BEST COMIC BOOK FILMS
We choose our 5 fave films each and offer a few surprises, as well as some that almost made our lists, guilty pleasures, and the worst comic films.
The Avengers. A fun, and funny superhero epic.
American Splendor. Curmudgeon Harvey Pekar’s life.
Scott Pilgrim vs The World. A charming video game aesthetic, and many pop culture references.
Blueberry. Based on Moebius’ Wild West adventure. Also known as Renegade, and also featuring great trippy sequences.
X-Men: First Class. Groovy baby.
Ghost in the Shell anime. A Sci-fi classic. Perty too.
30 Days of Night. Thrilling, and with truly scary vampires.
Ghost World. Two girls befriend a sad Steve Buscemi.
Justice League: Doom. Animated film in which Batman betrays the Justice League. Accidentally.
Persepolis. French animated film about coming of age in Tehran.
As a DC Comics fan, at least until lately when they unnecessarily rebooted their entire line, I was always hoping to see a Justice League film on the big screen. Alas, it looks like that won’t be happening for a long time. The Avengers will do very nicely however. Effectively, it is now the template for superhero films, and more specifically superhero team films. It embraces the wonder of world ending danger, cool costumes and memorable characters with unabashed fervour. Ah, to think how far we’ve come since the first X-Men film, with their black leather outfits.
I saw this at a midnight premiere and the place was packed, including audience members resembling a female Loki, Captain America, Thor, Wasp, Black Widow and an Iron Man with a cardboard helmet. The last time I experienced such united enthusiasm in a cinema was when I saw Star Wars Episode 1. However, at least The Avengers deserves it, and exceeds the hype. There was joyful applause as the familiar Marvel logo opened the film, and when Iron Man (Robert Downey Jr.) first arrived on the screen, there was even more applause. And the laughs. Wow. There’s more laughs in this than a Judd Apatow movie. Surprisingly, Thor (Chris Hemsworth) and Hulk (Mark Ruffalo) get the two biggest guffaws in the 140 minute film, but most other characters get their time to bring the chuckles too.
This is what a cinematic experience should be like. I think we were also amongst the first people to see the third The Dark Knight Rises trailer (it looked new to me), although it still isn’t getting me excited, but thankfully villain Bane’s distorted speech issues have been fixed and his menacing, Batman breaking tone is now crystal clear.
Writer and director Joss Whedon was made for this film, having written Marvel comics Astonishing X-Men, and Runaways over the years and as a unabashed fanboy, he knows what us comics readers are after, although The Avengers isn’t steeped in in-jokes to make it inaccessible to those who aren’t comics enthusiasts, but if you are curious about these characters, check out the first two awesome volumes of The Ultimates comics by Mark Millar and Bryan Hitch.
Whedon is a master storyteller and has loyal fans for a reason. From creating and guiding Buffy the Vampire Slayer, Firefly and Dollhouse, Whedonites will know what to expect here. There’s the aforementioned laughs, tied to some great emotional character moments, there are females who are more than just eye candy while the boys do all the fighting, and there is an end of the world threat that amps up the drama and tension. Most of the latter is initially displayed as the team is assembled. Iron Man is the central player, while Thor and Hulk show up later, but Hulk’s alter ego (played wonderfully skittishly by Ruffalo) Bruce Banner has a lot of screen time too. Whedon knows who these superheroes are and infuses the dialogue with their personalities. Captain America’s old time values, Iron Man’s witty, casual charm, Thor’s bemusement at his team-mates, and the shared history between Black Widow (Scarlett Johansson) and archer Hawkeye (Jeremy Renner) is handled superbly, with great emotion. It’s clear that these two non-powered heroes have an interesting intertwined past, just like in the comics.
There’s no need to see the previous so-called films in the Marvel Cinematic Universe, that began with 2008’s Iron Man, but you will need a basic understanding of who these characters are, and being familiar with the events of Thor will help. Captain America is the only character to receive a brief origin recap, but the rest of the team will be known to most viewers. There’s no need to see the 3D version of The Avengers. It’s incorporated nicely, but you’ll barely notice why you’re wearing the fancy glasses.
Within the opening minutes, the Chitauri alien race is revealed, as is Thor’s half brother Loki’s (Tom Hiddleston) plan to use them to dominate us pesky humans as, in his demented mind, freedom is an annoying desire and we’d be much better of without it.
The whole alien race aspect is handled well, especially considering after a handful of Marvel films, the subject has never been broached, although I guess Thor’s film comes closest, with the Nine Realms concept.
The action in these films will never really match what the comics can do with an unlimited budget, but this is perhaps the closest Hollywood has come to replicating Earth’s devastation, or rather New York’s devastation. Before we get to the Chitauri vs The Avengers battle though, there are more than enough fisticuffs and gunplay. We see Hawkeye fighting Black Widow, Thor, Iron Man and Captain America facing off against one another, Nick Fury (Samuel L. Jackson) versus a plane, and Hulk versus pretty much anything that moves. The action scenes are never pointless and always serve to drive the story forward. The finale is stunning, and it’s awesome to see Whedon finally unleashed on a big budget epic. There’s a singular tracking shot through the skies of New York that is truly worthy of superheroism.
There’s enough nuggets to keep Marvel fans happy, with both Stark Tower and the Helicarrier making their debuts, the obligatory Stan Lee cameo (close to the end), and the inclusion of Pepper Potts (Gwyneth Paltrow) and S.H.I.E.L.D Agent Coulson (Clark Gregg), and like all of the previous Marvel films, there is an extra scene after the credits. Thankfully though, this bonus appears after the brief main end credits so you don’t have to sit through 10 minutes of scrolling names. It is worth staying for, and anyone who’s familiar with Marvel’s cosmic villains will know who shows his face.
There’s also a couple of Biblical references which was nice. Thanks Whedon! This is the best version of Hulk on the big screen too. He’s genuinely menacing and as most others will say, will probably serve as the breakout character. It’s hard not to see Hulk do his thing and be taken aback by the sheer coolness of it all. Expect to see more Hulk t-shirts in the coming weeks.
It’s difficult to say anything more than, “see this film, as this is how superhero movies should be made,” as it deserves to be enjoyed as a cinematic experience. So – see this film.
This was a pleasant surprise. Coming in June from First Second is this great historical adventure tale form Boaz Yakin and Joe Infurnai. Here’s my rather glowing review.
This was one of those items I saw in the Previews catalogue 2 months ago and ordered on a whim. Hopefully it benefitted from a few nice words at Bleeding Cool and Diamond, and others did the same.
Freedom is published by Potato Comics and created by Seamus Heffernan. It’s also the recipient of a grant from the lovely people at the Xeric Foundation who generously support unique voices in independent comics.
Printed in a larger format, this 76 pager is presented as a black and white relic from the era in which it’s set – the American Revolution. Visually, it’s a standout, with detailed etchings like something from a wood-cut printing, and the loose lettering and fonts used in the acknowledgements and gallery intro, also giving it an old-timey feel.
It opens in the “colony of Massachusetts” in 1779. Young Adam has just woken from a bad dream, and before he can enjoy breakfast his two brothers charge in fighting about the redcoats, with the younger Connor shouting, “Death to the king!” for all to hear. Connor takes Adam to Boston so he can learn a trade, but on the way Adam’s feisty nature gets the better of him, leading to his almost demise at the hands of soldiers before a captain notes his honour and saves him and his older brother.
The dialogue beams with authenticity, and Connor’s moral strength in contrast with Adam’s hotheadedness brings forth great scenes of familial bonding and stern guidance. Needless to say, the art does wonders too. Heffernan paces the tale well, allowing us to care easily for the two protagonists, and creates hectic motion when needed, such as during a chaotic and passionate bar fight, and he makes just two colours come alive, such as in the last few pages, with great shadow play and explosive light.
This is the first of a planned trilogy and the cliffhanger and fate of the brothers indicates that it’ll be an even wilder ride in future issues.
Thankfully there’s a lengthy preview PDF so you can see some of this wonderfully crafted and intriguing debut for yourself.
Amongst the bevy of great features during Broken Frontier’s Image Month are two Dark Horse reviews of mine.
That’d be Conan the Barbarian #3 by Brian Wood and Becky Cloonan, and the grand finale of Star Wars: Agent of the Empire-Iron Eclipse.