Title: Kato Origins (Click to go to the release post)
Writer(s): Jai Nitz (Click to see other books from this writer released on this site)
Review source: Zack Freeman (Review 1) DS Arsenault (Review 2) (Don't click it, read the review here... )

Review:

Review 1 - Kato Origins #3 - Kato goes undercover to find a Nazi spy cell's bomb, but his head may too clouded with visions of romance for him to properly get the job done.

The Good
Nitz actually invests Kato with a surprising amount of depth. His love letters might have run a little too long and flowery in other circumstances, but here they paint a picture of a nigh-superhuman warrior monk who's as helpless in the face of love as any guy is. The historical context and place were also set quite well, given us a masked adventurer who's keenly aware of the world troubles of his time and his own divided alliance between his birth-land and his adopted home. Worley's art also goes a long way to add to this setting's verisimilitude, infusing everything with a grimy grit that puts this in reality while still having enough flair to make it exciting.

The Bad
Honestly, the trick Kato pulls on the Nazi spies was too thin for me to buy. He goes on a whole monologue about how sharp and highly-trained these saboteurs are supposed to be, and they're foiled by not looking an inch past the train's ledge? Kato might be small and stealthy, but he can't go completely flat.

The Verdict - 4/5
I continue to be impressed by how Dynamite's been able to make all of these older pulp characters relevant to modern tastes. Honestly, an entire comic about Kato interested me about as much as an entire comic about Tonto, at first, but the execution in this comic really won me over. All of these books have a classiness to their storytelling that reminds everybody why these characters have endured as long as they have.



Review 2 - Kato Origins #8 - The Story: The Hellfire Club: Kato investigates some mysterious activity in 1942 Chicago. Businessmen and criminals. Strange meetings. What are criminals and businessmen up to? Kato investigates in clandestine ways and gets some help from both Green Hornet and his new friend/former hobo James.

The Review: Jai Nitz, from word one, grips us in another one of those effective and powerful sets of metaphorical comparisons that I love. Here, Kato’s inner monologue turns over war and crime, secrecy and openness, like a pebble that has been palmed repeatedly and has smoothed in the process. The theme of secrecy and hiding things runs through the book, effectively, like a spine tying concepts together. And Kato’s voice, that of an experienced, lonely martial artist, steeped in Eastern philosophy and education, deepens the narrative, showing his trademark cynical view of men and the world through ironic humor. Nitz takes us a step further in Kato’s development and keeps the character fresh by surprising Kato in this issue, morally. That’s not easy to do without having the worldly character seem naive, but Nitz found some human tastes that fit the bill and did the job of giving Kato some room to grow as a person. That’s a very good thing for a writer to be able to do.

I loved the addition and growing role of James the Hobo, even though some of the stuff he has to do isn’t all that comfortable. Adding James to Kato’s cast is a natural and effective expansion of the mythos that pays dividends now and later (more character to explore, more potential for conflict, more ways to strike at Kato). The role reversal for Green Hornet and Kato seems to be strengthening, as I got the impression that Green Hornet really seems to be the chauffeur and overall second banana. I don’t mind, as I’m far more interested in Kato than in the Green Hornet, but it runs counter enough to my expectations to be a further positive surprise as the story progresses.

Colton Worley on pencils and inks, ably assisted by Fajardo on colors, does a great job of bringing Kato and 1942 Chicago to life with the kind of mood that suits Nitz’ writing. He evokes 1942 with the architecture and the little detailing on the windows and the items one finds behind the counter of a store 70 years ago. In terms of action, there’s a lot of stillness to Kato’s character. He is, by nature, a creature of patience and stealth until force is required. Worley imbues Kato with natural dynamism, even when Kato is still. Take, for example, the view of Kato picking the lock on page 1, or of him listening on page 2. Worley puts coiled tension into the stances without having it come off as contrived.

Conclusion: Dynamite’s Kato Origins has been on my pull list since issue #1 and shows no signs of falling off. This issue launches into the Hellfire Club arc and further defines and hones a character we fell for months ago. Go buy it.

More info:

Jai Nitz (writer)
Colton Worley (pencils and inks)
Romulo Fajardo Jr. (colors)

Publisher:

 

Title: Kato (Click to go to the release post)
Writer(s): Andre Parks (Click to see other books from this writer released on this site)
Review source: Nathan Wilson (Don't click it, read the review here... )

Review: Kato #1

With this new series, Kevin Smith is establishing himself as the Tom Clancy of comics with his own franchise brand that can be solicited out for other writers to complete.

Hearing the name Kato immediately conjures images of both Bruce Lee from the 1960's television show and the humorous stereotyped antics of the house boy Cato in the various Peter Sellers Pink Panther films. Having a serious comic treatment, however, may do little more to resurrect this character from pop culture obscurity despite writer Ande Parks' best intentions as Dynamite continues to flood the market with multiple Green Hornet related titles.

New readers can approach Kato with no prior knowledge of the character or reading of Kevin Smith's sister series as Parks explores the relationship between the elder Kato and his daughter Mulan. In this first issue, readers will find the story formulaic—villain seeks revenge for murdered parent, hero loses spouse, hero's defiant child must avenge parental loss. Knowing that the "new" Kato in the Smith series is a woman reduces the dramatic impact of this "origin" story for Mulan's character. Perhaps readers who enter this series directly from Smith's will have more of an emotional connection with Mulan or Kato as Parks never really develops them beyond mere caricatures. Unfortunately, in terms of a first issue, this story lacks intrigue or mystery, and it fails to establish a basic foundation for anyone in the story, hero or villain.

Learning more about the young Hirohito Juuma and his family connection to Kato's history may be the only thing that inspires any interest in reading beyond this issue. In far too many ways, unintentional or not, the plot and the name "Mulan" mirror the 1998 Disney film of the same name except that Smith and Parks have changed nationality from Chinese to Japanese. It is plausible that Parks was too restricted by Smith's script to make substantial additions or changes that could have improved the story.

The artistic team of Ale Garza and Diego Bernard deserve the lion's share of praise for any success this issue may find. Emotive facial expressions and crisp and clean portrait and action sequences are only reinforced by the beautiful colors of Leonardo-Mlk and PC Siqueira. Together, they create a stunning layout and atmosphere for the entire book.

An audience more familiar with Smith's other Green Hornet series and Dynamite's catalog may appreciate this issue far more than a casual newcomer. Yet, as a first issue, attracting new readers should be its primary goal. While Parks should be commended for his tight dialogue that is well-paced, the story itself and the guidelines from Smith are far too restrictive to allow much innovation in the way of plotting.

More info:

* Words: Ande Parks
* Art: Ale Garza
* Inks: Diego Bernard
* Colors: PC Siqueira

Publisher:

Title: Kato Annual 2011 (Click to go to the release post)
Writer(s): Andre Parks (Click to see other books from this writer released on this site)
Review source: Doug Zawisza (Don't click it, read the review here... )

Review:

Haru Tanaka just wanted to bring his monster movies to America, the American way: bigger and bolder than any monster movie had ever done before. Producer Chip Huddleston brought him to America and put the resources at his disposal. Almost predictably, funding melts away and the construction of Tanaka’s monster loses its direction.

The story itself is one about disappointment, but it certainly doesn’t disappoint. Like his longtime creative collaborator, Phil Hester, Ande Parks has a knack to contribute entertaining stories that are on par with his artistic talent on the other side of the page. Quite simply, Parks is a very good writer.

It’s a story we’ve all seen before, but it still tweaks at the heartstrings. Parks delivers an adversary for Kato to battle that evokes sympathy and genuine concern. Parks establishes that this is Kato’s first week on the job. For the most part, Kato is a fun, lighthearted character with determination and grit, and her attempt to stop the Baku monster she encounters has some chuckle-worthy moments that helps this book take itself a lot less seriously than it should on the surface. Parks writes Kato as a very strong character and shows no pause in getting inside the character’s mind and exposing her thought process. While the Ale Garza cover is over-the-top, emphasizing the female character’s physical attributes, this issue does a terrific job of focusing on Kato as a character that is deeper than the puddles cause by snow melting here in Michigan.

Salazar’s art is filled with detail without being forced or overtly phototraced. Kato, quite simply could be someone you’d bump into during a stroll through the Park and this makes the Baku monster that much more believable. Salazar’s style is clean enough that the detail doesn’t impede the action and his storytelling is crisp enough to let both play up the fullest extent.

I’m impressed with this effort and I’d like to see more from Salazar and Parks. The end of the issue, to me, was a disappointment in this regard, as it presented eight pages of script and pencil with unlettered full-color page insets. This seems redundant, especially given that I just read the book, and more story would have fit nicely here or perhaps, given that four pages would have been two full signatures in the book, the price could have been lowered and these pieces left out. All the same, I enjoyed the story contained in these pages and will certainly being keeping an eye out for more from this creative team.

More info:

Story by Ande Parks
Art by Edgar Salazar
Colors by Ivan Nunes
Letters by Simon Bowland
Cover by Ale Garza, Edgar Salazar
Publisher Dynamite Entertainment

Title: Curses (Click to go to the release post)
Writer(s): Kevin Huizenga (Click to see other books from this writer released on this site)
Review source: Brendan Collins (Don't click it, read the review here... )

Review:

Glenn Ganges sounds just like someone you probably know. He's in his mid-to-late 20s, slim build, slightly balding, and lives with his wife in a smaller American metropolis. They've been trying to have a baby for some time, but without success. He enjoys reading about the unknown, and thinking about the little things in life that most of us bypass with barely a second thought. On the surface, Glenn could be that friend you had from college - the one you used to study with late at night over coffee at an all-night diner (you remember that guy, don't you?).

Except for one thing: Glenn Ganges is a fictional character in Kevin Huizenga's comics repertoire. This is a simple, obvious fact which is easily overlooked throughout Mr. Huizenga's latest book, Curses. Glenn's just got that kind of a personality. Bigger than life? No. Stands out in a crowd? Not in the least. But he is charming in ways that don't exact great amounts of understanding from the reader. That is to say, the reader has known Glenn Ganges throughout his or her life, and it is wholly natural to allow him back in.

What Mr. Huizenga does with such a regular-guy-type character is amazing, though, and proves to be the strength of Curses. The reader isn't exposed to thinly-veiled autobiography or self-indulgence (as is the case with Bren Collins' 6 Ways from Sunday franchise), but to worldly stories that could come from anywhere. "28th Street," for instance, is a stirring Glenn Ganges story which originated as a folk tale from Italy, and has been filtered through Hometown, America for the reader's consumption ("Hometown, America" in this case happens to be Grand Rapids, MI - perhaps the epitome of any North American city of moderate size). A veritable mythology is acknowledged, formulated, and shared in such a way that we can all get it, not just on a local or regional level.

The book has heart, and Mr. Huizenga emphasizes this with his superb selection of non-verbal images. The case which makes itself is within the short story "The Hot New Thing," a satirical view of how people tend to analyze and anticipate those things which we are told by media are The Hot New Thing. Glenn and his wife Wendy are just like us in that respect. They talk about The Hot New Thing for days, follow trade journals and popular magazines featuring the unspecified object, and finally attend the initial unveiling of said item. And here's where the humanity comes into play: On their way into the Expo, Glenn and Wendy become so wrapped up in the anticipatory moments leading up to the pinnacle moment in their lives (The Hot New Thing's revelation!), they actually hold hands as they approach - they've fallen in love all over again.

Curses is a book every bit as profound as anything by Chris Ware (Jimmy Corrigan: The Smartest Boy on Earth) or Jeffrey Brown (Clumsy, and I Am Going To Be Small), and sometimes surpasses them with regards to accessibility to the general readership. Each of the stories can be read independent of the others, but there is a linear feel of coherence to them as they are presented. There truly is a wide range of emotion explored throughout the book (not just the typical "joys and pains" of a human life, but also the irrational fears and the common curiousity between us all).

Finding a Glenn Ganges story in another publication (such as the Canadian TIME Magazine) is always a special treat. Finding a collection of them compiled between a hardcover is truly exciting.

More info:

Writer & art: Kevin Huizenga

Title: Punisher: War Zone (Click to go to the release post)
Writer(s): Garth Ennis (Click to see other books from this writer released on this site)
Review source: Chad Nevett (Don't click it, read the review here... )

Review: Punisher: War Zone #1

Garth Ennis. Steve Dillon. The Punisher. Do I really need to say anything else? No, really, do I? If those three elements get you excited, you’ll love “Punisher: War Zone” #1. If they don’t, you probably won’t. It’s as simple as that. Myself, I’ve been waiting for this with anticipation ever since it was announced all those months ago and it doesn’t disappoint.

This is Ennis doing the Punisher the way he began with Dillon for Marvel Knights, not the MAX style. Those two styles are rather different, mostly in the tone. Where the MAX book was serious with a few moments of comedy here and there, the Marvel Knights approach is comedy with a few moments of seriousness thrown in.

“War Zone” or, as the story itself is titled, “The Resurrection of Ma Gnucci,” is a pretty direct sequel to the “Welcome Back, Frank” story that began Ennis’ long run on the character. Several years ago, the Punisher single-handedly wiped out the entire Gnucci mob family, culminating with a limbless Ma Gnucci getting kicked back into her burning house by the Punisher. Seemed like the end of that crime family, but, no, word has it that there’s an Italian branch of the family and it’s making a move on various East Coast operations. So, the Punisher gets to deal with that.

Like his previous Punisher work with Dillon, Ennis is just having a laugh here. One of the best bits involves a page that begins with: “War Journal Entry #1: God how I hate poor people.” We learn that the son of snobbish vigilante the Elite is taking up his father’s quest to rid the world of “undesirable” people and plans to begin with the man who killed his father: the Punisher.

There are other callbacks to “Welcome Back, Frank” with the return of Molly Von Richtoffen and another zoo scene that tops the first one in both hilarity and cringe-inducing events.

The reunion of Ennis and Dillon is a big reason to pick up this book as these two long-time collaborators fall back into their old ways with nary a bump. These two guys work so well together that it’s unbelievable. Most of the issue relies on dialogue, but Dillon continues to have the amazing ability to not just make talking head scenes work, he makes you forget you’re reading a talking head scene. He also draws an ostrich burping incredibly well.

As I said at the beginning, if you know and like the work of Garth Ennis and Steve Dillon, particularly their “Punisher” stuff, this is for you. If not, the violence and zoo scene may do you in. But, me, I’m just looking forward to next week’s issue.

More info:

Story by Garth Ennis
Art by Steve Dillon
Colors by Matt Hollingsworth
Letters by Cory Petit
Cover by Steve Dillon, John Romita Jr.
Publisher Marvel Comics

Title: HAUNTED CITY (Click to go to the release post)
Writer(s): Chap Taylor and Peter Johnson (Click to see other books from this writer released on this site)
Review source: Rob Base (Don't click it, read the review here... )

Review: HAUNTED CITY ISSUE #0

First are the covers, even with the old saying that you can't judge a book by it, in the world of comics, we do just that. This is where Aspen comics, as a company, excels. The Modern Age of comics had its so-called renaissance. It was only good for one thing and that would be covers. This is what Aspen continues to bring, magnificently stylized covers with the use of empty space and placement of characters, which in essence relive the glory days of comics. The two covers of Haunted City have all the makings of a 90s comic: it grabs you and hits you over the head and yet at the same time, it also utilizes the Eisner approach of centering the reader’s eyes to a focal point.

Yet, unlike the drab, story-less comics of the 90s, Haunted City brings depth and an engrossing story that is near and dear to my heart. And that is the second reason we read comics, concept. This book takes place in and around history and leads itself through the glory days of old New York and into the present day. The constructs of the story, without spoiling the idea, brings the realm of all “the boogie men” and religious fears to the forefront from vampires to voodoo to witches, even ghosts.

The look and feel of the book is top notch and can best be reminiscent of Vampirella and Spawn with a hint of Gore* to boot (*1 shiny penny to the reader who know that title).

If there is a negative to the comic it’s in one thing. Famed director, McG, is plastered all over the book since it is in collaboration with his Wonderland Sound and Vision. Now, there is nothing wrong with this. But in recent years, comics with celebrities attached tend to have a short shelf life mostly due to the fact that smarky comic fans just run away from a title if it's not from a "comic guy,” which is sad.

This title has done everything right and deserves to be on anyone's “buy pile” every Wednesday.

Overall, I can't wait to get issue one in my grubby little hands. This book fills the gap of great story and old school comic action which has been sorely missed in recent years.

More info:

Chap Taylor & Peter Johnson – Story
Michael Ryan – Art
Peter Steigerwald – Colors
Josh Reed – Letters

Title: Djinn (Click to go to the release post)
Writer(s): Jean Dufaux (Click to see other books from this writer released on this site)
Review source: Comic Girl (Don't click it, read the review here... )

Review:

A couple of weeks ago, I was talking to an acquaintance about comic books. We talked about different comic book classics, which she hadn’t read and which apparently didn’t interest her very much. Then she started talking about Djinn, a series I hadn’t read. Her reaction: “You haven’t read Djinn yet?!? And you call yourself a comic book fan!?! Ha ha ha… ” (And now you know why I call her an acquaintance and not a friend…)

I answered: “Every year hundreds of comic books hit the shelves, I can’t read them all.” All the while I was thinking: ‘You haven’t even read any of the real comic book classics and you’re lecturing me on what I have read…!’ She said: “You really have to read Djinn, it’s great. It’s about a harem. I’m into harems at the moment. I’m reading a book about them too.” Now, my curiosity was peaked to say the least. So yesterday, I started reading Djinn.

Before I talk to you about Djinn, let me explain why I hadn’t given it a shot before. Well first of all, on all the covers of the series there’s a naked woman. You’re probably thinking, what’s wrong with that?!? Well to me that says that the series is probably meant for teenage boys who can’t control their hormones.

Second of all, the quality of the drawing isn’t exceptional. So I had invested in other comic books instead. Needless to say I started reading the first volume without too high expectations. I was pleasantly surprised though by the story that was told. It has several layers to it and it leaves you wanting more. Therefore soon after reading the first volume I was reading the second and then the third… Before I knew it I had read all seven volumes.

Djinn tells two stories. One is set right before world war one, the other is set in the today. Right before world war one Jade is chosen by the sultan as his favorite of all the women in his harem. Jade is a Djinn, she has no feelings and is deadly attractive. She is ordered to seduce an English diplomat, Lord Nelson, because the sultan is trying to decide whether he will side with Germany or England in the upcoming war and to whom he will give the treasure that he has stashed somewhere.

In the present day, Kim (who is the granddaughter of Jade), is looking into her grandmother's past and also looking for the lost treasure. In the first four volumes the story changes constantly from the present to the past, which makes it sometimes difficult to follow because a lot of characters look alike. It is however necessary to show the parallels between Jade's and Kim’s story. These parallels make the reading all that much more interesting.

From volume five on the change between past and present isn’t made anymore within one volume. While volume five deals with the past, volume 6 describes the present and volume seven is, again, about the past. This makes it a lot easier on the reader to distinguish between the two story lines.

The biggest surprise was that after a couple of pages of volume one, there’s already a lesbian storyline. Jade, who has to seduce Lord Nelson decides to get to him by seducing Lady Nelson first. Lady Nelson is easy prey. She falls in love with Jade and decides to join the harem to be close to her love. To join the harem she has to please 30 of the girls that are already in the harem.

Then she will be good enough to please the sultan and in doing so please Jade. The relationship between the two is rather one sided. Lady Nelson is in love with Jade and will do anything for her. Jade’s heart however is melted by Lord Nelson. The three of them start up a ménage à trois. Throughout the series it is then made clear that Lady Nelson loves and adores Jade and that she doesn’t care all that much about her husband.

Let yourself be seduced by Djinn!

More info:

Script: Jean Dufaux
Art: Anna Mirallès
Editor: Dargaud

Title: Epoch (Click to go to the release post)
Writer(s): Kevin McCarthy (Click to see other books from this writer released on this site)
Review source: Ian J. Simpson (Don't click it, read the review here... )

Review: Epoch #1

I don’t know anything about Kevin McCarthy or Paolo Pantalena and a quick internet search didn’t reveal much either. I’m guessing, although correct me if I’m wrong, that Epoch is the first major work by the author or artist.

Epoch is that age-old tale of Angels versus Demons. You come to realise this after a couple of pages, and my gut reaction, to be honest, was “not again!” How can they make this original, or interesting, or not just a comic-book rip-off of Supernatural? What McCarthy has done is to make it appear like a police procedural story. I’m not talking about something like Gotham Central where the focus is on the background characters and not the superheroes, but where the angels are the police and the demons are the criminals.

A little back-story then. There has been a truce between the warring factions for a thousand years and they have remained hidden from humans. An angel, Michael (we’re not given firm evidence that he is the Michael in issue 1), is a partner to Jonah, who is apparently unaware of Michael’s true nature. There’s been a grisly murder in the opening scene, and Jonah admits to finally believing in monsters. We are then transported back in time to the start of the case. Another murder, a famous congresswoman in police custody and Michael out of the picture. What follows is a basic discovery plot where Jonah realizes things aren’t what they seem, demons exist, Michael’s true nature is revealed, a magic McGuffin is introduced and Jonah has an interesting, if predictable, reconciliation with his father.

Despite initial reservations, I warmed to the premise, and I was drawn to the artwork, if you’d excuse the pun. However, what doesn’t work in Epoch’s favour is the naive dialogue and the clichéd plotting. The characters are drawn fairly angular in style, with maybe a hint of manga without the characterising large eyes. The images are striking and nicely gruesome where appropriate. The panelling is clear and easy to follow. There are some pages with a few very large panels which are very effective visually. The caption boxes are mostly in type-writer style font, giving the impression that Jonah’s thoughts are a typed report, which is a nice touch. However, a lot of the dialogue bubbles have annoying bold type every few words to increase emphasis. This is not really needed as in most cases as the emphasis is obvious. The author should let the visuals inform the reader; treating them with the respect and intelligence not to sign post everything. Some of the plotting is rushed and heavy handed. Within seconds of Jonah meeting his father, they are deep in an argument which seems to have come from nowhere. Another point of contention is when Michael is battling the demon. In most other mythologies, demons have names. In Epoch, even though Michael knows the demon well and they have done battle before, he just calls him demon. Odd.

So, I’d have to say Epoch is a little disappointing, which is a shame as it has potential. The art work is great, but the story is cliché yet still has potential to be fun if the plotting and dialogue improve.

More info:

Written by Kevin McCarthy
Art by Paolo Pantalena
Colors: George Fares

Publisher:

Title: Warehouse 13 (Click to go to the release post)
Writer(s): Ben Raab and Deric Hughes (Click to see other books from this writer released on this site)
Review source: Wayland (Don't click it, read the review here... )

Review: Warehouse 13 #1

Dynamite Comics has been consistently impressing me with their licenced properties. They’ve done amazing things with Zorro, the Green Hornet, and even the Lone Ranger. Now, they are tackling more modern characters, and this week begin their adaptation of the highly enjoyable SyFy Channel’s Warehouse 13 show. For those not familiar with it (First of all, go watch it, it’s great), it’s something like a cross between Indiana Jones and the X-Files, but set mostly in the modern day and much more lighthearted. Artefacts exist and can do untold damage in the wrong hands. Something becomes an artefact if it’s associated with a famed person who was skilled at something (more or less, they’ve never really explained the process). Various ones we’ve seen have included Nixon’s shoes (if you wear them, no one can tell you’re lying), the studio 54 disco ball (which spins on its own, does its own lightshow, and plays “I Will Survive” when struck by any light) and Lewis Carroll’s mirror (which let’s a very disturbed young girl named Alice out to possess you if you look in it and/or creates a duplicate of you).

The comic takes advantage of things the show can’t do almost at once. A soccer field in South America is swallowed by a huge earthquake, and the team is sent down to investigate. The field agents are Secret Service agents Myka Bering, a by the book detective type, and Pete Lattimer, a much more laid back (and goofy) agent, who occasionally gets “vibes” that seem part danger sense and part precognition. While the current season features a third field agent, Steven Jinks, who can tell when anyone lies, he is not in this issue at least. In the Warehouse are Artie Nielsen, the agent in charge, who knows the artefacts backwards and forwards, having been there for decades, and his new-ish assistant/agent, Claudia Donovan, a brilliant young inventor who we met in the course of the show’s first season. They all have great chemistry both on the show and in this comic.

Pete and Myka manage to eventually find the artefact in question after dealing with international travel (a rarity on the show, likely from budget), corrupt cops, power-mad businessmen, and Carnival costumes (don’t ask). There are also some scenes of the random things in the Warehouse, including a bottomless cookie jar, what appears to be an Apollo lunar module, and something that looks a lot like the Holy Grail.

For fans of the show, it’s a good adaptation. For newcomers, it’s easy enough to follow. Magic artefacts, adventure, travel, and a place with security built by Edison, Tesla, and Escher- how can you go wrong? For those who keep track of such things, they have also established that tv shows Warehouse 13, Eureka, and Alphas are all in the same world.

More info:

Artist: Ben Morse
Authors: Ben Raab and Deric Hughes
Cover Artist: Various

Publisher:

Title: Domino Lady (Click to go to the release post)
Writer(s): Nancy Holder (Click to see other books from this writer released on this site)
Review source: Penny Kenny (Don't click it, read the review here... )

Review: Domino Lady #1

Orphaned heiress Ellen Page moonlights as Domino Lady, dispensing her own brand of justice and taking on the criminal underworld as she seeks retribution for her father’s murder.

Two different stories. Two different artists. Which leaves me of two different minds about Domino Lady #1.

The first story, “Blooded,” has Domino Lady teaming up with police detective Morgan “Mad Dog” Vernia and Sherlock Holmes to:

• Track down the stolen Jade Dragon statue
• Rescue a kidnapped girl
• Keep rival Chinese mobsters from starting a gang war, and
• Keep the city from being flooded with bad drugs.

Writer Nancy Holder bit off a bit more than she could chew in this story. Or to put it another way, there’s way too much going on in these sixteen pages. The inclusion of Sherlock Holmes is interesting, but not really necessary. He basically adds clutter to an already crowded storyline.

The scenes are short, cutting quickly to the next event. Characters appear and disappear without warning or purpose. There’s one flashback panel that I think is supposed to illustrate the kind of thing Domino Lady does and the impish delight she takes in doing it, but it was distracting, not illuminating. It had nothing to do with the main storyline. I found it difficult to keep track of what was going on.

Illustrator Danny Sempere has a good sense of composition. His backgrounds are detailed without crowding the action. In general, his close-ups are good, though his disguised Holmes is just...ugh! There’s something about the way the face is put together. It just doesn’t fit right. Also he inks it far too heavily – a mistake he doesn’t make anywhere else.

In the book’s second feature, “Orange Blossom Murders,” Ellen crosses paths with an old flame while investigating a friend of her late father’s. This opening chapter works much better than “Blooded.” Holder takes her time developing this story, giving readers a sense of what drives Ellen here, by using elements from her past and present. She sets up some interesting relationships between the characters and scripts sharp snappy banter for the scene featuring Domino Lady and the reporter Rackers.

Leeahd Goldberg brings a different look to this section of the book. The panels are more open, with less detail. There’s also less of an emphasis on the characters’ faces. Goldberg pulls back from the action, distancing the reader, which allows him to gain more perspective on the events.

Domino Lady #1 is a mixed bag, but there’s enough to like about it for me to suggest fans of pulp noir check it out.

More info:

Written by Nancy Holder
Artists: Sempere, Jensen & Guerra (c), Aitken (l), Goldbert

Title: R.P.M. (Click to go to the release post)
Writer(s): Mick Foley and Shane Riches(Click to see other books from this writer released on this site)
Review source: Johnny North (Don't click it, read the review here... )

Review: R.P.M. issue #1

Guns blazing, cars crashing, and a man moving through it all with hyper-kinetic depth perception are just a few exciting reasons to check out Mick Foley’s first comic book R.P.M.

Foley, along with writer Shane Riches and artist Josh Holder, takes you into the life of Revere Windsor, a direct descendant of Paul Revere. Revere is a hired courier that goes wherever the deal takes him. Working with the government or gangsters is not an issue for Revere, as the payoff is his most important priority.

The first of four issues focuses on giving readers an idea on what put Revere in his current career and how he uses his special skill to outwit his foes. Quite a bit of action, character background, a bit of lust thrown in to keep the pace interesting. Revere is hired for a job that he believes is more than just a simple pick-up.

The moment you start the comic you are enticed with fast action and fast monologues. Foley and Riches did a great job of using the memory of Paul Revere to help illustrate how similar the two are and how Windsor is a bit different.

Holder’s art varies throughout the comic as features to characters come and go quite often. The main character can look like young Rocky Balboa and then old Rocky suddenly. The art of the backgrounds looks simple at times, while key objects and characters are given a greater focus. Explosions and bloody battles are common, but far from gory content or expletive language. “Sayonara suckers,” is the crudest language so far.

With the creativity presented by Foley and Riches this tale can easily get you hooked into wanting to read more. The comic starts and ends with action and gives you the feeling that the next one will start out with more action. Do not expect professional wrestling references or traditional Foley humour, this one is a unique adventure that does not need to step into the squared circle.

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Written by Mick Foley and Shane Riches
Art by Josh Holder
Cover art by Brian Stelfreeze

Title: Dark Horse Book of Hauntings (Click to go to the release post)
Writer(s): various (Click to see other books from these writers released on this site)
Review source: The Masked Bookwyrm (Don't click it, read the review here... )

Review:

The Dark Horse Book of Hauntings is a comic book anthology published in hardcover...though not unreasonably priced. Featuring seven original comic book stories by various writers and artists, including some highly respected names like artists P. Craig Russell and Paul Chadwick, it has a new Hellboy story by Mike Mignola (Hellboy, a demonic paranormal investigator -- kind of a cross between Marvel's Son of Satan and DC's The Demon -- will apparently hit the silver screen next year) and a new "Devil's Footprints" story (which was a supernatural mini-series, also available as a TPB). More off beat aspects to this accretion are an actual text short story by the late Perceval Landon first published in 1908 (I believe), given a few modern illustrations by Gary Gianni, as well as an interview with a real life spiritualist.

The first thing you notice from that line up is that there seems to be a lot of care, or at least enthusiasm, put into this project (I mean, an interview with a self-styled spiritualist?!?) all in order to generate a certain thematic cohesiveness. The other noteworthy thing is how restrained the stories are: for a horror comic, in a medium long criticized for its excesses, there's very little gore. Any "mature readers" caution is warranted more for some profanity and a bit of nudity. In fact, only one story goes for a grisly, macabre ending, and it's still drawn with restraint. Instead, by focusing mainly on ghosts and hauntings, the stories can be almost...genteel. Some are definitely going for the chill-factor, but others are humorous or poignant.



The opening story, "Gone", written by Mike Richardson, and beautifully drawn by P. Craig Russell and coloured by Lovern Kindzierski, is about a deserted old house from which no one seems to return. It is blatantly meant to be creepy and works quite well for the most part, unnerving in its very understatedness. But it builds to a kind of weak ending. "Lies, Death and Olfactory Delusion", a childhood reminiscence as the narrator remembers the death of a picked on schoolmate, is by Randy Stradley and Paul Chadwick. It goes more for pathos than horror, and is among the most memorable stories for that. Another winner, at the other end of the emotional spectrum, is Evan Dorkin and Jill Thompson's "Stray", a humorous ghost story...about dogs.

The text story, "Thurnley Abbey", is a very traditional haunting story -- right down to its archetypal hook of the narrator being told the story by a chance aquaintance. It works reasonably well, precisely because a short story can, in some cases, cover more ground than a comic (a picture ain't always worth a thousand words).

Other stories in the collection aren't necessarily as successful, often quite slight, but none are cringe inducing awful, either. Uli Oesterle's "Forever" is moderately fun in its traditional, macabre, EC Comics sort of way involving a scoundrel and a cursed tattoo. Though Mike Mignola's Hellboy contribution, "Dr. Carp's Experiment", with the character called in to investigate a haunted house, doesn't really give you enough to decide whether or not you'd like to track down Hellboy's other adventures for those previously unfamiliar with him (like myself). "This Small Favor" -- the "Devil's Footprints" story -- involves the protagonist also called in to cleanse a home of willful spirits. And the brief "The House on the Corner" likewise relates events surrounding a haunted house, but in a style evocative of an old Ripley's Believe it or Not comic.

Ultimately, this collection of supernatural tales maybe doesn't quite succeed in elbowing itself to the top of anyone's "must have" list. But the very commitment that editor Scott Allie seems to bring to the project is appealing, right down to the elegant, almost old-fashioned, packaging. With two or three better-than-decent tales, a variety of emotional tones, good art throughout in a variety of styles, and a welcome, old fashioned restraint, it's an agreeable read.

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Creators: Mike Mignola & P. Craig Russell & Paul Chadwick & Evan Dorkin & Jill Thompson & Various
Writer: Scott Allie
Cover Artist: Gary Gianni
Genre: Horror, Action/Adventure

Title: The Dark Horse Book of Monsters (Click to go to the release post)
Writer(s): various (Click to see other books from these writers released on this site)
Review source: Dan Grendell (Don't click it, read the review here... )

Review:

Each year for the last few years, Dark Horse has put out a beautiful little hardcover collection of stories about a horror theme from a variety of comics stars and newcomers. Every year I look forward to it, because I know that no matter the theme, no matter who is in it, editor Scott Allie always delivers one thing: quality. I was disappointed to learn that this fourth volume will be the last, but it holds up just as well as the previous three (The DARK HORSE BOOK OF HAUNTINGS, WITCHCRAFT, and THE DEAD) and I can't say I'm surprised. I've come to expect it. As usual in these volumes, there's a new HELLBOY story and a prose offering.

This time around we have "I Witnessed the End of the World!", an excellent commentary on humanity by Kurt Busiek with Keith Giffen on pencils and Al Milgrom on inks. This was probably my favorite story of the anthology, both because of the power it had and because I liked its message. Next up was "The Hydra and the Lion," the new HELLBOY story both written and drawn by Mike Mignola, a rarity nowadays. I'm a big HELLBOY fan, but this particular story wasn't so much to my liking; it just felt rushed.

Early 20th century horror writer William Hope Hodgson comes next with the maritime prose story "A Tropical Horror," with spot illustrations by Gary Gianni. A great monster tale, and Gianni's drawings really lend to the feel of the story. Arvid Nelson adds to the REX MUNDI mystery after that with "To Weave a Lover", ably drawn by Juan Ferreyra. A bit of a Frankensteinian tale, it wrapped a little to conveniently for me.

One that didn't was "The Horror Beneath", by Leah Moore and John Reppion. Timothy Green II draws this, my second-favorite story of the book, about a couple people visiting an ill-fated archaeological dig. I love endings like that. Moore and Reppion are new to comics, but they already show a lot of promise. Let's hope people can see past who Leah's father is and recognize her skill for what it is.

As they have before, this anthology has a new DEVIL'S FOOTPRINTS story, this one titled "Hidden." Written by the editor, Scott Allie, with art by Paul Lee and Brian Horton, it tells the story of what happens when hypocritical priests mess with people with the support of their gods. Here's a hint- it isn't pretty. The anthology wraps up with what, surprisingly, is NOT a humor story by Evan Dorkin and Sarah Dyer: "A Dog and His Boy." With beautiful art by Jill Thompson, this story just makes you want to cry. And sometimes, that's what monsters are for.

Overall, I'd recommend this and any other DARK HORSE BOOK OF... to anyone who is looking for some horror that isn't just blood and guts. This is class between two covers.

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Writers: Mike Mignola, Kurt Busiek, Sarah Dyer, Leah Moore, John Reppion, Scott Allie, William Hope Hodgson, Arvid Nelson, Evan Dorkin
Artists: Mike Mignola, Keith Giffen, Timothy Green II, Jill Thompson, Paul Lee, Gary Gianni, Juan Ferreyra, Brian Horton, more

Title: Dark Horse Book of the Dead (Click to go to the release post)
Writer(s): various (Click to see other books from these writers released on this site)
Review source: E.C.McMullen Jr. (Don't click it, read the review here... )

Review:

Anthologies are, by their very nature, an eclectic bunch of tales. Not all of them will appeal to you, nor are they supposed to. Instead, anthologies are meant to give you wonderful reads of short tales and, as a grab bag, give you something that you may truly love. In otherwords, your favorite story in an anthology might not even be the editor's favorite story in the book.

A few years ago, Dark Horse comics decided to present an annual series of graphic Horror anthologies, in hard cover, and for a reasonable price. The series took off and this latest one, The Dark Horse BOOK OF THE DEAD, is a wonderful showcase of the top talents of the industry.

Well known comic veteran, Kelley Jones, takes the lead with his story and art in The Hungry Ghosts. Wonderfully told and in only six pages tells a tale of deceptive depth and trickery.

The second story, The Ghoul, is a Hellboy tale by Mike Mignola (HELLBOY: The Third Wish, HELLBOY) with our anti-hero-hero on the tail of a poetic ghoul.

Old Garfield's Heart is a Robert E. Howard reprint, about a near immortal, with illustrations by Gary Gianini.

Writer, David Crouse, and artist, Todd Herman, present the inner monologue of prescient roadkill.

Death Boy, veers to comedy with a story by Bob Fingerman and art by Roger Langridge.

The Wallace Expedition may be the darkest of the lot, with a creepy tale and art by Eric Powell (THE GOON).

Pat McQueen writes and draws Queen of Darkness in a tale of confidence, doubt, and decision.

Kago No Tori is a story by Jamie S. Rich with art by Guy Davis and tells a story of love after death that I've seen repeated by a number of writers more times than I can count. Davis artwork saves the tale.

The Magicians: A Devil's Footprints Story, by Scott Allie and artists Paul Lee & Brian Horton, demonstrates how the most powerful magic may still not be enough to answer one's burning questions, even from the source.

And finally, Let Sleeping Dogs Lie is a great zombie tale - and I know it's great because, again, it's been written so many times - told through the viewpoint of household pets. As such, it rises above what would have marked its territory as a mediocre story, had it been about humans. The story is by Evan Dorkin and the art by Jill Thompson.

The interesting thing about this anthology is, while I certainly have my favorites, even the least on my list were entertaining. Like most anthology editors, Scott Allie included one of his own stories, but I found it to be a really good story and had no problem with it. Your mileage may vary, but for me this book was money well spent and I'm buying the entire series.

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Creators: Mike Mignola & Evan Dorkin & Jill Thompson & Kelley Jones & Gary Gianni & Various, Mike Mignola
Writer: Various
Artist: Various
Letterer: Nate Piekos & Richard Starkings & Comicraft & Various
Colorist: Michelle Madsen & Dave Stewart
Editor: Scott Allie
Cover Artist: Gary Gianni
Genre: Horror, Action/Adventure

Title: Dark Horse Book of Witchcraft (Click to go to the release post)
Writer(s): various (Click to see other books from these writers released on this site)
Review source: Rebecca C. More (Don't click it, read the review here... )

Review:

Adult/Young Adult. This collection offers eight witch tales inspired by such writers as Shakespeare, Nathanial Hawthorne, and Lord Dunsany. The mostly graphic noval format tales run the gamut of time periods, artistic styles, and occasionally quality, although all end ambiguously or badly. Witches range from Clark Ashton Smith’s lustful and repugnant Mother of Toads, who seduces the hapless protagonist, to Jim and Ruth Keegan’s canny Voodoo woman, who takes revenge on an arrogant customer in The Gris-Gris.

Evan Dorkin’s modern witches summon a voluptuously nude goddess of destruction in Unfamiliar, to the dismay of the canine protagonists, and in the best selection, Mike Mignola’s enigmatic Troll Witch tells her sad tale to Hellboy. Also included is an interview with Wiccan High Priestess Phyllis Curott, covering the modern practice of Wicca. Brief biographies of the writers and illustrators follow the text.

The book’s tales and illustrations, while engaging, seem at hypocritical odds with its purported intent. Its dedication to the “memory of those… killed in Salem,” Scott Allie’s introduction decrying those events and witches historical depictions, and the intriguing interview with Curott all imply dispelling myths. Nevertheless, four tales depict irredeemably malevolent witches, and three others portray more ambiguous, but still ruthless women.

Mark Rickett’s confusing Golden Calf Bluesmight fulfill the intent, but lacks a witch. The cover illustration and endpapers display satanic crones and rituals. Also at odds are occasional adult themes and drawings co-mingled with PG-rated chill and gore. Purchase to fulfill an interest in classic witch tales and graphic novels, rather than horror stories.

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Creators: Mike Mignola & Evan Dorkin & Jill Thompson & Scott Morse & Various
Writer: Evan Dorkin
Artist: Various
Cover Artist: Gary Gianni