Title: Mass Effect: Evolution (Click to go to the release post)
Writer(s): Mac Walters (Click to see other books from this writer released on this site)
Review source: Miguel Perez (Don't click it, read the review here... )

" At this point, I'm interested enough to see how it all plays out."
Review: Mass Effect: Evolution #1

Learn the history behind the Illusive Man.

Hot on the heels of the release of Mass Effect 2 for the PS3, Dark Horse and EA have teamed up for yet another comic book set in the popular video game universe. This time the story focuses on the Illusive Man and takes place before he smoked 12 packs of cigarettes a day and had an apartment with a fantastic view. Although it hits many of the same beats as the first game, Evolution succeeds in setting up a fun story with a look and feel all its own.

Oh, and I'm happy to report that you do indeed find out just how he got those illustrious peepers.

The series starts during the First Contact War between humans and Turians, which occurred soon after humans discovered interstellar flight. Jack Harper, who would later become the Illusive Man, is leading a small band of guerrilla fighters as they search for the truth behind the Turian attack on a human colony. The journey takes him to a strange and familiar scene that any reader who has played the first Mass Effect game will instantly recognize. I'm not entirely sure what to make of this revelation, since it plays out almost exactly as it does in the game, only with different characters. It's too early to jump to conclusions regarding the outcome of these events, so I'll hold off on passing judgment; my initial reaction is one of apprehension.



As the solicit states, curious sci-fi fans that have had no prior experience with the Mass Effect fiction will have an easy time jumping in. John Jackson Miller and Mac Walters do an excellent job of only including information pertinent to the events taking place. That isn't too difficult a task to achieve considering the whole thing takes place decades before Commander Shepard is even born, but that's beside the point. The issue moves at a brisk pace, never lingering on scenes for too long but devoting enough time and dialogue to keep readers hooked and guessing as to what will happen next.

I could have done with a bit more excitement though, since Omar Francia delivers one hell of an action scene. The book is capped with gorgeous and energetic battles, but that doesn't mean the rest of the issue is a disappointment. Far from it. Even with all the talking heads, Francia finds ways to keep my eyes entertained. Whether it's by varying the angle of his shots or using unconventional page layouts, I enjoyed every single page of this book and look forward to seeing more from him as the series moves forward.

Mass Effect: Evolution #1 serves as a textbook example of a setup issue. It's easy for new readers to follow, and it reveals just enough to bring readers back next month. I would have preferred to learn more about the Illusive Man himself, but there will be plenty of time for that later as the story progresses. At this point, I'm interested enough to see how it all plays out.

More info:

Writers: Mac Walters and John Jackson Miller
Artists: Omar Francia and Manuel Silva
Cover: Massimo Carnevale, alternate cover by Joe Quinones

Publisher:

 

Title: Batman The Black Mirror (Click to go to the release post)
Writer(s): Scott Snyder (Click to see other books from this writer released on this site)
Review source: Rob Siebert (Don't click it, read the review here... )

" The quality of Snyder’s work in the world of Batman continues to rise. "
Review:

One of the best things a Batman writer can do is establish Gotham City as a character in and of itself. Scott Snyder does this as well as any writer I’ve ever seen, particularly when he’s teamed with Jock in Batman: The Black Mirror.

The book collects two stories. In the title story, a series of murders leads Batman (Dick Grayson) to investigate an underground auction house for items used by Gotham City rogues. The pressing question being, will Dick escape the auction house alive? At the same time, Commissioner Gordon’s son James Jr. returns to Gotham. As it turns out, James has something of a violent history. As Barbara Gordon (Oracle) panics about his return, the Commissioner wonders if his son deserves another chance, or if he has something sinister in mind for the city. In the second story, “Hungry City,” somebody puts leaves a dead killer whale in the middle of a bank lobby. That’s right, an honest to God killer whale! The case leads Dick Grayson into contact with the daughter of Tony Zucco, the man who murdered his parents. How far has the apple fallen from the Zucco family tree? Batman’s set to find out.

In this story, and all Snyder’s Batman stories for that matter, the city has a very distinct feel to it. Snyder, Jock and Francavilla give it an aura that makes you believe characters as outrageous as these could exist there. Very few creative teams have been able to pull that off so effectively.


Fans have known for years now that Jim Gordon has a son. We’ve seen him as a child in various early-years stories like Batman: Year One. Apparently he left Gotham with Jim Gordon’s first wife after their divorce. I had always been interested to see what happened to him. From a creative standpoint, part of me was a bit disappointed to see the character given such a dark twist. Between his divorce, having his daughter paralyzed and his wife murdered, not to mention having the unenviable task of maintaining some degree of order in the most chaotic city in the world, it would have been nice to see something actually go Gordon’s way for once. But alas, like Batman he seems to be cursed. Snyder does a tremendous job keeping you wondering whether James is actually a bad guy. Francesco Francavilla, who handles the pencils for all the Gordon-centered content, does great work too.

What I also enjoyed about Snyder’s work was that he makes a point to have his run be just as much about Dick Grayson as it is about Batman. Whether it’s Dick reminiscing about how his father viewed Gotham while in the circus, his feelings toward the daughter of the man who murdered his parents, or how he feels soaring over the rooftops, Snyder, Jock and Francavilla make Dick look very natural in the Batman role, as opposed to someone who’s simply filling in. That’s something that even more renowned creative teams have had trouble doing.

The quality of Snyder’s work in the world of Batman continues to rise. But this is where it all started. Clearly he’s got a knack for working with these characters, and if he keeps it up he can establish himself as one of the better Batman writers of this era.

More info:

AUTHOR: Scott Snyder
PENCILLERS: Jock, Francesco Francavilla
COLLECTS: Detective Comics #871-877
FORMAT: Hardcover

Publisher:

Title: Mass Effect: Inquisition (Click to go to the release post)
Writer(s): Mac Walters (Click to see other books from this writer released on this site)
Review source: Richard Walker (Don't click it, read the review here... )

" This story is appealing to anyone who likes exploring the Mass Effect universe"
Review:

Mass Effect's story expands even further as another comic book chapter is now available over on USA Today, called 'Mass Effect: Inquisition'. Writer Mac Walters, who penned the narrative for the game and has also written several Mass Effect novels, has also written the comic book's story, which focuses on "blue-collar-type beat cop" Captain Bailey.

"By and large this story is appealing to anyone who likes exploring the Mass Effect universe," explains Walters. "It crosses over borders. One thing we've always been cognizant of is providing a view of this universe outside of Shepard's vantage point — which is how you play the game. With 'Inquisition', you get to see that world through the eyes of a more blue-collar-type beat cop character named Captain Bailey."

The eight-page story is available to view exclusively on USA Today and examines the character of Captain Bailey, as well as offering added insight into the Mass Effect universe with art by Jean Diaz.

"This is more a character study of one of the more interesting figures that occupies this universe. Captain Bailey's a captain within the Citadel. This is a very personal story for this character."

Mass Effect: Redemption is also available as a collected graphic novel volume and also features another perspective within the Mass Effect universe in comic book form. Check out the first page of the new Inquisition story as a smple page in the release post.

More info:

Writer: Mac Walters
Art: Jean Diaz

Publisher:

Title: Mass Effect: Incursion (Click to go to the release post)
Writer(s): Mac Walters (Click to see other books from this writer released on this site)
Review source: Wiki (Don't click it, read the review here... )

" Mass Effect: Incursion was created to flesh out a conversation between Liara T'Soni and Aria T'Loak in Mass Effect: Redemption. "
Review:

Mass Effect: Incursion is an eight-page mini-comic that follows Aria T'Loak's encounter with the Collectors one week prior to the opening events of Mass Effect 2. The events of Incursion link into the events of the comic mini-series Mass Effect: Redemption . Incursion was made available on June 21, 2010 through IGN. It is also included in the graphic novel release of Mass Effect: Evolution , and in a two-comic collection with Mass Effect: Inquisition on Dark Horse Digital.

The comic is written and scripted by BioWare lead writer Mac Walters, and drawn by Omar Francia, with contributions from colorist Michael Atiyeh and letterer Michael Heisler. According to Walters, Mass Effect: Incursion was created to flesh out a conversation between Liara T'Soni and Aria T'Loak in Mass Effect: Redemption: "We wanted to continue to explore the original comic book, Redemption, and find a snippet in there. The idea I had was that I had a moment [in Redemption] where Liara meets Aria on Omega, and Aria has a very negative reaction to a mention of the Collectors. And I thought that I didn't really mention why that is. It makes sense if you think about it, but maybe there's a story behind it. So that's the genesis of these 8 pages."


Mass Effect: Incursion opens one week before the Collectors attack and destroy the SSV Normandy, as seen in Mass Effect 2. Aria T'Loak and two batarian bodyguards are investigating a disturbance on Omega. One of the bodyguards says the problem is related to the Blue Suns or slavers and that they can handle it alone, but Aria insists on coming herself, sensing something worse.

The three discover a meeting in progress between Blue Suns mercenaries and a group of Collectors accompanied by a Praetorian; the Blue Suns are apparently trading several humans to the Collectors for payment. Aria orders her bodyguards to make sure no one leaves the area alive, then attacks the Blue Suns and Collectors. At the end of the battle, all of the Collectors and humans are dead, and the few surviving Blue Suns are finished off. Aria lost only one of her men. Later, at Afterlife, Aria is given a datapad with all of the information her agents could find about the Blue Suns' deal with the Collectors. The data consists of human population totals for Horizon, Omega, Freedom's Progress, the Citadel, Eden Prime, Terra Nova, and Earth. Aria notes that the Collectors wanted more than just a few slaves, and humanity has made a dangerous enemy.

More info:

written by writer Mac Walters
drawn by Omar Francia
colorist Michael Atiyeh
letterer Michael Heisler.

Publisher:

Title: The Hot Rock (Click to go to the release post)
Writer(s): Christian Lacroix (Click to see other books from this writer released on this site)
Review source: Richard (Don't click it, read the review here... )

" This is just pure class ."
Review:

Donald Westlake, writing as Richard Stark, was responsible for one of the best books of 2009 in Darwyn Cooke’s adaptation of Parker: The Hunter. The Hot Rock, first published by Casterman in France in 2008, is the darkly comic flipside to Parker; a story of a bungling con and an increasingly ridiculous jewel heist.

It’s every bit as good as Cooke’s Parker, and may be just that little bit better.

Westlake’s writing in The Hot Rock is as good an example of the black comedy crime caper as you’re likely to find. – and Lacroix/LAX does the perfect job of adapting The Hot Rock to comic form. It’s timing is perfect, whether it’s for the thrills or the comedy. Westlake’s characters are archetypes, stereotypes, but they’re wonderful ones – in Parker we have the driven, relentless, hard-boiled criminal and here in The Hot Rock we meet John Dortmunder; the criminal mastermind – clever, master of the cunning plan, but so terribly unlucky – the comic counterpoint to Parker’s cold intense ruthlessness.

It’s June 1969, and John Dortmunder, newly released from prison (never a great start for a criminal mastermind) is contacted by one of his previous associates Kelp with an idea for an audacious jewel heist. There’s a small African nation in need of a team of thieves to recover a half million dollar emerald that holds special importance to the country but was lost to it’s neighbour in a civil war.


Dortmunder isn’t happy with the set-up, particularly with the African ambassador brokering the deal who seems to be very reluctant to let go of the purse strings, but reluctantly goes ahead, recruiting a 4 man team and sets about recovering the emerald from an African art exhibition.

(and you just know what’s going to happen next – don’t you? One slip ruins it all – Dortmunder’s heist is cursed with bad luck after all. From The Hot Rock by Westlake and LAX, published by SelfMadeHero)

And that’s when it all starts to go wrong. The raid on the exhibition goes wrong – they’re just one slip away from getting away with it – and from then the team finds themselves in an escalating series of audacious raids, with the jewel always seductively (and increasingly ridiculously) out of reach. From the exhibition they progress to breaking into first a jail, then a New York police precinct and finally an insane asylum as the jewel slips through their fingers each time. It seems nothing can go right for these ill-fated cons.

The story’s part expert crime caper, part series of brilliantly set up gags. It’s a great thriller, intricately plotted and brilliantly executed by LAX from Westlake’s story, full of the twists and turns that mark Westlake’s writing, he takes great delight in making each increasingly audacious raid to recover the emerald just that little bit more ridiculous than the last, milking the black comedy for all it’s worth.


It’s this delicious blending of classy thriller with black comedy that makes The Hot Rock such a great read. There are so many perfectly observed moments that will send a grin across your face as you read. Perhaps the best of these is the increasingly incredulious African ambassador’s reactions to Kelp’s ever more outrageous and expensive list of the equipment Dortmunder has earmarked for each job ….

LAX’s adaptation keeps every bit of Westlake’s meticulously plotted thriller intact and does justice to the beautifully observed comedy moments but also adds something akin to a filmic touch on the comic page. Throughout the book he expertly fades the scenes, shifting effortlessly to the next setup, without need of detailed explanation, the art does everything, moving you along, beautifully, adeptly, seamlessly – this is just pure class . And the artwork in itself is a real treat, a subtle mix of exaggerated figurative cartooning and moody suspenseful scenes.

The Hot Rock is every bit as good as Cooke’s Parker: The Hunter adaptation, and perhaps, seeing how brilliant observed and executed the black comedy is throughout, even a little better.

But it’s potentially a book that, without the marquee name of Cooke to publicise it, will not reach the potentially huge audience it deserves, an audience who’ll absolutely love it. There’s a series of Darwyn Cooke adaptations of Parker coming out from IDW. I dearly wish there were a series of LAX’s adaptations of the Dortmunder stories. I think, in the end, I’d enjoy those more.

More info:

Original Novel by Donald Westlake
Adapted and illustrated by Christian Lacroix (LAX)

Publisher:

Title: Gifts Of The Night (Click to go to the release post)
Writer(s): Paul Chadwick (Click to see other books from this writer released on this site)
Review source: Spithead (Don't click it, read the review here... )

" Gifts of the Night is a well-crafted, virtually perfect story"
Review:

Despite having a somewhat small bibliography when it comes to writing, one of my favorite writers is Paul Chadwick, who is best known for his series ‘Concrete’. My avid love for said series incited me to track down more of Chadwick’s work, though as I already mentioned there isn’t a lot. But one series I did manage to track down was the Vertigo mini series ‘Gifts of the Night’.
A collaboration with acclaimed artist John Bolton released in 1999, the story is set at some undetermined period in the middle ages. The story’s protagonist is Reyes, an aspiring scholar who works as a tutor and care-taker to the king’s son Magdin. The story establishes Magdin as a rather weak child who is somewhat disregarded by all, including his own father, as having no future for himself. Reyes alone seems to have any love for the boy who he hopes to shape into a strong-willed man.

Every night before he sleeps, Magdin is told a story from some period in history by Reyes, hoping to instruct the child into becoming a wise and benevolent ruler by learning from the mistakes of the past.
Magdin in turn relays the stories told to him to his father’s court who perceive that he is blessed with visions to bring guidance to the kingdom in their time of need. Reyes alone knows the source of Magdin’s "visions" and takes the opportunity to reshape the land in his perception of utopia. But in time others discover this practice and take it upon themselves to likewise manipulate the boy.
Gifts of the Night strongly reminds me why I love Paul Chadwick’s work. Regardless of setting, characters, or realism, he is capable of presenting us a story that can stir so many emotions and give us such a deeply human cast. From the beginning until it’s somber conclusion, Chadwick spins a tale that entrances us and keeps drawn in.
John Bolton likewise succeeds greatly in his part with beautifully detailed, painted work. He conveys both magnificence and melancholy, in what is a strong departure from his style and that harkens back the Renaissance era, which perfectly fits this story.
Overall Gifts of the Night is a well-crafted, virtually perfect story that compliments the skills of it’s creators, and as a fan of both their works I can’t recommend it enough.

More info:

Written by Paul Chadwick
Art by John Bolton
Letterer: Tod Klein

Publisher:

Title: The Complete Dracula (Click to go to the release post)
Writer(s): Leah Moore and John Reppion (Click to see other books from this writer released on this site)
Review source: Billy (Don't click it, read the review here... )

" I’d like to try and convince anyone out there that hasn’t picked this up to do so immediately."
Review:

I know everybody out there thinks that because they’ve seen Interview with the Vampire or even Twilight, they know about vampires. Well, I’m hear to tell you that you need to read Bram Stoker’s Dracula or this mini-series. Yes, if you don’t want to read the original book, or like me, need pictures because great artwork surpasses your own imagination, then this is the book for you. I’ve also read the Marvel mini-series (Roy Thomas, Dick Giordano), and that was pretty good, but this one is definitely superior.

If there is anyone left on the planet that has not read the original book or any adaptation, you’re in for a great ride with this one. It definitely held true to the original (obviously condensed a great deal) for being in comic book format and only five issues, but the integrity of the story is there, and the visuals were very good. Leah Moore and John Reppion wrote the story, while Colton Worley (Green Hornet, Kato: Origins) had the duties on artwork. Moore and Reppion are a husband and wife team (Moore, the daughter of legendary Alan Moore), and have worked on several projects together for Dynamite, IDW, Top Cow, Image, and Dark Horse.

The comic was true to the book with the cast of characters. Jonathan Harker - the real estate solicitor traveling to Transylvania to meet with the enigmatic Count Dracula. Mina - his beloved wife, but also a part of Dracula’s scheme unbeknownst to her. Lucy - Mina’s best friend, and Dracula’s first victim in England. Professor Van Helsing - the strange doctor brought in from Amsterdam to attend to Lucy after she felt Dracula’s bite. Dracula - the reason for the story, the antagonist, the killer, the hated, and the pitied. These characters, along with two of Lucy’s other love interests, a doctor from the local sanitarium, and one of his patients, spin a tale of love, mystery, horror, and fear, that can be enjoyed by readers of any age. Worley’s artwork was nothing less than exceptional. The early scenes of Harker traveling through Transylvania with the snow falling were magnificent. The chapter when Dracula is aboard a ship and systematically murdering the crew members was also very intense.


The premise for this classic tale is very simple. Jonathan Harker travels to Transylvania at the behest of a Count Dracula to assist in his purchasing of land in England. Once there, Harker realizes that he is in the clutches of something he doesn’t truly understand, but does fear. Dracula eventually makes his way to England via boat, and while at sea, he kills everyone on board the vessel. Once in England, he drains the life from Lucy, then he sets his sights on Jonathan’s beloved Mina. Jonathan must escape Dracula’s castle and bloodthirsty women, and then save Mina and battle Dracula with the help of Abraham Van Helsing and Lucy’s friends.

There were two specific things that really made this adaptation stand out for me personally. First was the demeanor of Prof. Van Helsing. Most adaptations (movies and print) show him as this fearless man who could topple King Kong. In this version, however, he showed signs of fear, and even doubted his own ability to get the job done. I found that to be quite refreshing. Second, was the portrayal and actions (artwork specifically) of the mental patient Renfield. One panel in the book specifically, that really was marvelous and frightening at the same time. It showed Doctor Seward, of the sanitarium, speaking with Renfield one day. He tells Renfield that a beautiful lady wishes to speak with him, and this excites him very much. Now, keep in mind that Renfield has been keeping flies and spiders in his cell as pets for quite some time. Upon hearing that a pretty girl wants to speak with him, he tells Dr. Seward that he needs to “tidy up” his cell. He proceeds to grasp the spiders and flies from his cell floor and eat them. Colton Worley did a magnificent job of showing this action from the view as if from inside Renfield’s mouth, not watching from Dr. Seward’s viewpoint.

In closing, I’d like to try and convince anyone out there that hasn’t picked this up to do so immediately. It is a very good read and my only complaint in the entire book, is that one or two panels were shaded slightly too dark, which made it difficult to tell what was being portrayed. Other than that, this book was flawless, in my opinion.

More info:

Writer(s): Leah Moore & John Reppion
Artist: Colton Worley

Publisher:

Title: Kill Your Boyfriend (Click to go to the release post)
Writer(s): Grant Morrison (Click to see other books from this writer released on this site)
Review source: Aaron Block (Don't click it, read the review here... )

" The potential of comics as a medium to render change in the reader’s reality."
Review:

Grant Morrison and Philip Bond’s “Kill Your Boyfriend,” originally published by DC Comics’ Vertigo imprint in 1995 and reprinted (again) last October (likely to capitalize on Morrison’s recent high-profile work on “Batman,” “All-Star Superman,” and “Final Crisis” for DC), is a classic love story. Girl meets Boy. Girl and Boy drink, vandalize their quiet English suburb, and toy with nihilism. Boy kills Girl’s geeky, sex-phobic boyfriend in cold blood while she watches. Her response: “I think I’m in love.” Boy and Girl then set off on a criminal holiday involving sex, drugs, art students, teacakes, and, finally, Blackpool tower.

In an afterword included in the 1998 reprint, Morrision acknowledges that the story has been told in excess in the wake of Natural Born Killers (released just before “Kill Your Boyfriend” was initially published) but claims at the time his only model was Badlands (though he misidentifies it as “Heartland”) Terrence Malick’s 1973 film which fictionalizes Charles Starkweather’s Nebraska-Wyoming killing spree. “Kill Your Boyfriend” is unlike either Badlands or Natural Born Killers in that it never judges you for taking delight in its protagonists’ bad behavior. The consequences of The Boy and Girl’s mayhem are rarely acknowledged, and when they are it’s as a barrier to further liberating action rather than a moral or ethical force to be reckoned with. Instead, Morrison places all value on his character’s decisions. Even if they choose to kill, to “be the girl the boys all fancy. The one with the big tits and a big smile and nothing in her head,” at least it’s better than living out the prescribed middle-class existence of the Girl’s parents.


Philip Bond’s pencils are broad, and expressive; just this side of cartoonish, and suited to the story’s brisk pace and dark wit. Not unlike Howard Chaykin, Bond includes enough detail to anchor the story in a believable early 90′s England, but leaves the characters and action flexible, so that we laugh along with what we might otherwise recoil at. Colorist Daniel Vozzo parallels the Girl’s shift into hyper-reality with a move from muted greens and tans to a pop-art palette – the bright red of the dress she wears when she becomes an E-driven rave queen, the same shade as her lipstick, is prominent throughout, a standard for everyone ready to drop out with a bang.

But that option isn’t available to everyone. Because this is Grant Morrison it should be no surprise that the Girl’s decision to become a sociopath is couched in one of the writer’s pet themes: the potential of comics as a medium to render change in the reader’s reality. But whereas Morrison’s superhero stories are inclusive in their metatextual elements (we can all be superheroes, everyone is part of the story, etc.) “Kill Your Boyfriend” is tantalizing for its distance. The Girl directly addresses the reader in scene throughout the story, but always with a “would that you could” wink. When she first dons the red dress in the apartment of an MP the Boy had just killed, she explains, “I’m not real anymore. I’m just a figment of his imagination. I’m no longer responsible. And that means I can do anything.”

Alas, we can’t be part of “his” imagination (the Boy’s? Morrison’s? Our own?) or opt out of responsibility. Reading “Kill Your Boyfriend” is a nice consolation prize, though; plenty of the violent mayhem with none of the cleanup.

More info:

Written by Grant Morrison
Art by Philip Bond

Publisher:

Title: ICandy (Click to go to the release post)
Writer(s): Dan Abnett and Andy Lanning (Click to see other books from this writer released on this site)
Review source: Chris Delloiacono (Don't click it, read the review here... )

" The more iCandy that I read, I just have to say that this book rocks."
Review: ICandy #3

The Matrix-light - Nothing about this series has blown me away; in fact, it was a quirk of fate that brought me to reading issue #2. When I read comics, the writing is about 60% of the package. This is not to say that I’m not all for the art. I love the artwork too; I would read more books, and fewer comics, if I didn’t care about the artwork. Thing is, a bad story is the first reason I’ll drop a comic book. After all, why read at all if the story sucks. The story for iCandy thus far has been somewhat lacking, but the art has been simply mind-blowing. Yet, here I am, and here I’ll stay for now.

Dan Abnett and Andy Lanning, known as DnA, are a great team. What they’ve put together here is an entertaining gimmick comic. They’re not going for a deeply convoluted Matrix style storyline. As I mentioned in my review last month, this book’s a reverse of TRON where the video game characters come to our world. You add a little bit of The Matrix, with regard to the fight scenes, and you’ve got iCandy.

I hate to be pretentious with what I read. I’m willing to try almost anything in the comic book world, and quite often the weirdest books stick with me. I crave slightly different reads in my pile each month, and that’s probably why I’m sticking with iCandy. Hell, I did the same thing with Bad Girls, following a lackluster first issue, and I’ve only liked it more and more each month.


Laying the cash down on your candy-ass! - Matt is a young kid on the run with the collection of bits that may be his sister, Candy. The video game maker that Matt’s dad works for is clearly behind Candy’s condition, and they’ve sent a weird human/video game hybrid out to get Matt, and Candy. This month we learn there is someone else with a vested interest in the fugitives. Candy must protect Matt from some wicked bytes in their own right.

Who knows exactly what’s going on, but it’s a ton of fun. Candy pulls a shotgun out of thin air using an inventory screen and starts blasting away. She uses some crazy moves that would make Keanu Reeves proud, and vanquishes the seen enemy with tremendous flair. Of course, Kalman Andrasofszky renders everything with near perfection.

The more iCandy that I read, I just have to say that this book rocks. There’s a very minimalist plotline going on, but the outrageous fight scenes really steal the book. The title of the book alone is really a great description of the series. This is eye-candy of the highest order, but that isn’t a bad thing. This is an action driven book that’s totally different than anything else on the shelves today. While I was a little disappointed with the direction at the start, I must say that DnA has crafted an amazingly cool storyline that should appeal to people of all ages. This is the type of book that DC needs to promote to the youth market. This is their speed!

More info:

Written by: Dan Abnett and Andy Lanning
Art by: Kalman Andrasofszky
Colored by: Udon
Lettered by: Rob Leigh
Editor: Tom Palmer Jr.

Publisher:

Title: Moonstone's Modern Myths: Blackest Terror (Click to go to the release post)
Writer(s): Eric M. Esquivel (Click to see other books from this writer released on this site)
Review source: AlbinoDarkBeast (Don't click it, read the review here... )

" I still recommend you buy this book, if only for the “WTF” value."
Review:

AlbinoDarkBeast Is Puzzled!... And it’s all Eric M. Esquivel’s fault. Describing himself as an “acclaimed comics author, okay screenwriter, mediocre journalist, so-so editor, terrible dancer”, this young man has raked some very impressive resume stuffers under his belt, including working for Moonstone, Indieonly Comics, KWO Press, Spookshow Records, Imagifreakination, Fiction House Mafia, and co-founding Modern Mythology Press.

Late November/Early December marks the debut of his latest work: “Blackest Terror”. So far it’s been generating a fair amount of press, and it immediately caught my attention.

The book deals with the initial exploits of the eponymous anti-hero, an African-american physician turned vigilante, fighting fire with freakin’ uranium in the streets of an unnamed city. Very little is revealed on the first issue, save for some limited background on the characters and some of his psychotic personality.

It’s… well, weird.

We’ve all seen the kind of press that the new Ultimate Spidey generated, from retarded comments like “he’ll probably shoot refried beans instead of webs” (I mean, come on, habanero salsa is obviously more useful, haters) to genuine irritation from both sides of the fence, as some people believe the SM mantle should only belong to a Caucasian, while others complain that most non-caucasian heroes are mestizos (at least when there’s latino genes involved) and generally walk the road of the black sidekick.

And while the skinheads and rednecks gargle their own bile and bend over backwards in an effort to instigate the perpetuation of outdated stereotypes and prejudice, awesome people like the Foo Fighters serenade the Westboro Baptist Church, and websites and journalists praise Esquivel for writing a (sic) “Socially Relevant Comic Book”. But… is it? Or is it only riding Miles Morales’ thunder?


I’m not really sure. This is not the first time the minorities have received a special kind of attention, nor is it the first time a black antihero has been depicted as a foul-mouthed, violent murder machine. And also, it has been stated time and again that (…)“if Glen Beck hates the new Spider-Man, he’s going to really loathe his new character: The Blackest Terror”.

I think my indecision regarding this book stems from two facts: One, the book is too damn short. Although it was stated that the concept will revolve around self-contained one-shots, 22 pages built on profuse dialogue (that, in my opinion, lacked a little deepness in terms of characterization), did not offer enough material to actually categorize this book in my brain.

And Two, and this is probably the most obvious fact: Esquivel is not freakin’ black. This, to me, is a double-edged sword. I commend the kid for going out on a limp and taking such controversy head-on, but I’d still need to know how the black community feels about this. Sure, the story in general portrays positive traits. But still, this is a murderous maniac going over-board for things like tribal names.

In terms of technique, the book is wonderfully executed. The art is balanced and consistent, with a cartoonish style reminiscent of Winston Rowntree’s Subnormality, but keeping great proportions whilst adding an obvious emotional value to the dialogue. Being completely black and white, it sets the tone for the BT’s mindset: There are no gray areas, there is good and evil, there’s pride and shame; victory and defeat. It also looks very damned cool. Ander Sarabia shows a keen sense of depth and a beautiful management of shadows. There’s a fair amount of gore, which I always enjoy, and although the panels tend to get crowded with text a lot, I think it’s justifiable in this particular case. It reinforces the perception of political satire.

I still recommend you buy this book, if only for the “WTF” value. The art is great, it stirs conversation, it drives people to read crap outside the capes and tights, to form opinions and instigate controversy. It’s that diversity of opinions, regardless of the subject, that keeps intellectual properties alive and evolving. Support local artists, support rising stars. I’d really love to see how this ends.

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Story by Eric M. Esquivel
Artwork by Ander Sarabia

Publisher:

Title: Blade: The Vampire Hunter (Click to go to the release post)
Writer(s): Ian Edginton (Click to see other books from this writer released on this site)
Review source: Dennis Janssen (Don't click it, read the review here... )

" Blade the Vampire Hunter is just a good comic."
Review: Blade the Vampire Hunter #1-2

Why have I chosen this series? This requires some explanation on my part anyway. I'm a fan of horror titles from Marvel in the seventies. Especially Tomb of Dracula is and remains one of my favorites of all time in terms of horror trip and I think this series is still unsurpassed.

I was very happy when Marvel about 2 ½ years ago indicated that they did a "horror line" to set up. With much anticipation I looked forward to this, but already got a warning when I read Tomb of Dracula miniseries. Gone were all the detailed figures. Gone was the gentleman vampire Dracula. All that remained were two-dimensional characters and a Dracula who is no longer a blood-sucking aristocrat but a dirty baggy moron.

I never thought I would say, but I was glad when Dracula at the end of this mini series out of the Marvel Universe disappeared (miraculously, because the team Wolfman and Colan also have most of the first series did).


Then came the "Midnight Sons" series. Ai, ai what an unbelievable trash. The (subtle) horror was very hard to find. Almost all the figures had become superheroes and the stories were so terrible (on Hold After Dark, which was only bad stories). And I do not know of readers, but I think it's not as scary as a person's spine is pulled out, but while the drawn just keeps talking. So when I saw that Blade would get his own series, I prepared for the worst. Blade was indeed in recent years as a blood-hungry savage that depicted everything that struck even smacked into the paranormal. But because I knew how Blade was also shown to be (the old Tomb of Dracula series) I decided to just this series a chance.

And guess what? Blade the Vampire Hunter is just a good comic. You should not expect the old Blade you get back, but this series is 200% better than I expected. Blade is still keen, but not more bloodthirsty freak everyone without explanation just massacres.

In addition, the superhero element also much reduced. Do not get me wrong, I have nothing against superheroes (most of the comics that I read these types of concerns) but in a horror comic, they do not figure prominently. The tandem of writer Ian Edginton and artist Douglas Wheatley is unknown to me, but these songs have a good first impression. They are the first two parts in good working order at least interesting secondary characters to design, like Julia (the landlady), "Bible" John Carik (the paranormal professor) and Aaron Thorne (the left hand Vamae).

All they really have to change again is Blade's clothing and weapons. He simply hears a long brown raincoat to have his weapons and his wooden knives. For the rest, this series certainly has potential. Oh yes, Dracula turns back. I hope that this incarnation of the lord of the undead better than the last time, but after reading Blade the Vampire Hunter # 1 & 2, I see it anyway with some confidence. Dracula behaves in these first two parts at least more like the Dracula of the 70s than the moron in the miniseries. But why he suddenly has long hair (and in a ponytail)?

(Translated with Google)

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Written by Ian Edginton
Art by Douglas Wheatley

Publisher:

Title: Angel vs. Frankenstein (Click to go to the release post)
Writer(s): John Byrne (Click to see other books from this writer released on this site)
Review source: joelopez101 (Don't click it, read the review here... )

" I ended up having a fair amount of amusement with the issue. "
Review:

The Story: Well, it’s all in the title, isn’t it? Comics legend Byrne reveals the untold battle between vampire Angel (of TV’s Buffy the Vampire Slayer and his own titular show), before he gained a soul, and Mary Shelley’s Frankenstein’s Monster.

What’s Good: Most people warn against judging a book by its cover but in this instance, I think that would be just fine. Byrne crafts a fun, if not very sophisticated, tale that is really just an excuse for the two screen monsters to smack each other around.

Most comic books fail at capturing the voice of a particular character from television or film, but Byrne does a good job of getting Angel’s personality down. Of course, he’s operating under his Angelus persona here (If you’re not familiar, Angel = good vampire with a soul, Angelus = bad vampire with a soul) and Byrne seems to be enjoying himself by making him as depraved as ever. He also does a nice job of capturing Angel actor David Boreanaz’s likeness quite well without ever having the art look too photo-referenced and stiff.


What’s Not So Good: Byrne’s pencils are certainly not his best, although considering his backlog, you have to cut the man some slack. They have the feeling of being done a bit haphazardly and quickly. Perhaps this is a result of him inking himself here, but I can’t say that I was happy with the result. His design for Frankenstein’s Monster, an aspect of the book that he could have utilized to great effect, is sorely disappointing. The Monster simply appears to be a rather tall, elderly man. I’d have expected something much more memorable and frightening considering the character’s iconic status.

Besides being a somewhat fun romp, the script has a few glaring plot holes. Chief among them, why would Frankenstein’s Monster want to engage in an overly complicated plot involving impersonating his creator’s heir? For the money? Really? If so, it’s never explained. Also, the ending is rather abrupt, leaving this reviewer with the nagging feeling that Byrne either suddenly decided he was bored with this story, or ran out of time to complete it.

Conclusion: Besides being a long-time fan of the creator, as well as a fan of both characters used here, my expectations were low when I picked this up. However, I ended up having a fair amount of amusement with the issue. It’d hardly earn a place besides Byrne’s run on X-Men or Superman, but you could do worse.

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writer & artist: John Byrne

Publisher:

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

" “Berserker” still hasn’t shown all that it can do, but the hook here is strong... "
Review: Berserker #1

Back in February, I came down pretty hard on “Berserker” #0, not because of the story itself, which was pretty decent, but because of the price-to-content ratio. Finally, the first full issue of the series has come out and it shows that this is a book with some potential and great-looking art.

The first issue of “Berserker” centers on two men, Farris Jorn, a metalworker barely hanging onto a job and struggling with his temper, and Aaron, a high school student who viciously breaks an opponent’s arm in a wrestling match. Both men seemingly have some sort of trance they enter into when provoked along with mysterious individuals watching them. While the zero issue teased Farris’s past and ‘berserker’ rage, this issue suggests that the concept is larger than just him.

The pair of men make for an interesting contrast, as Loverd emphasizes their romantic lives as factors in their outbursts. Both are working class and want more. It remains to be seen if the two will be on the same side or opponents, but they certainly seem like they will play well off one another.


That said, with a zero issue and a first issue, you would assume that things would be beyond the most basic of stages in characterization and concept, but they’re not. Both Farris and Aaron are barely sketched out with only the barest of hints about what lays behind their abilities available. One scene tries to give some perspective with agents from Midgard and Asgaard fighting, tying into the Norse aspect of the berserker, but not much is actually revealed in that scene.

Jeremy Haun’s art is impressive and is the best thing about this comic. He’s got a very smooth line and uses a lot of black ink to strengthen that soft look in places. With his background in black and white comics, he has a strong sense of composition and how white space and black inks can interact. His strongest work here are the instances of action, but the quieter moments between characters are well done as well.

“Berserker” still hasn’t shown all that it can do, but the hook here is strong, and the juxtaposition between former soldier Farris and high school student Aaron could lead to some interesting situations should they meet. Hopefully, next issue will begin fleshing out these characters a bit more now that the groundwork has been laid.

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Story by Rick Loverd
Art by Jeremy Haun
Colors by Dave McCaig
Letters by Troy Peteri
Cover by Dale Keown, Jeremy Haun

Publisher:

Title: Codebreakers (Click to go to the release post)
Writer(s): Carey Malloy (Click to see other books from this writer released on this site)
Review source: Dustin Cabeal (Don't click it, read the review here... )

" Frankly, this issue is really good."
Review: CodeBreakers #2

The search for Stanley continues, as Donald and his team trace the IP that put Stanley in danger. Meanwhile, Stanley is being tortured by Remy, a criminal who has resurfaced from Donald's past. Remy has cut off all of the toes on Stanley's right foot to encourage his work in cracking a code. Donald and his team manage to find the room Stanley was working from, but they were too late to find Stanley. Donald instantly recognizes the codes sprawled over the walls. The team finds that Remy is not so willing to let them follow and sends thugs to get them. After avoiding Remy's thugs, Donald separates from Lindsay and Malcolm to continue alone. Stanley is relocated to continue working on the mystery code. Lindsay and Malcolm are forced to either give up the search for Stanley or find their own way to bring him home. Lindsay chooses to make her own plan to find him by enlisting the help of a criminal's wife. It just happens that Lindsay's responsible for putting her husband behind bars.

The adrenaline train keeps going with this issue as Carey Malloy writes a wonderful cat and mouse story. However, in this tale, the criminal is one step ahead of our heroes. Malloy introduced the villain briefly at the end of the first issue by having Remy threaten Stanley with cutting his toes off. It was very shocking to see that he followed through on the promise. Think about that for a moment: Here's Stanley, a nice guy with an extraordinary job who one day he finds himself brutally beaten and missing all of his toes. Malloy may not build upon all of the characters from the first issue, but he definitely moves the plot forward. There's a real sense of time to the book and each page seems to have an invisible countdown clock for Stanley's life. Codebreakers 2


The one character that is built upon from the second issue is Lindsay. Malloy shows her true talents and why she's so valuable to the team. Whether it is sweet talking a security guard or getting a take on Donald, her ability to read people and then get what she needs from them shows why Lindsay is indispensable.

The consistency of Stephen Downer (Dingo) should be applauded. He really understands the importance of character placement in the frame and uses that to support the story. From the first issue to the second issue, he's managed to balance the action and the detective work nicely. His style has improved and grown from his earlier work, which is apparent with this series. He's somewhat reminiscent of Jack Kirby in the fact that his action ignores the frames and appears as though they were moving.

This issue does add a few too many characters to the mix though. The extra thugs are a bit much, and the criminal wife felt like it was something that could wait till the next issue. Because the story has a lot of ground to cover, the art never really gets to spread its wings. The saving grace is that invisible countdown clock that constantly pushes the reader forward. If the reader wasn't so rushed, they might be able to pick up on a lot of the clues that are hidden in the panels.

Frankly, this issue is really good. It does slump in comparison to the first issue, but it also has a different role to play than the first did. It still does a great job of making the characters likable and cool. The world Malloy and Downer are building is still very interesting and full of drama. Previously I stated that this could be a TV show and in a way it is- you just have to wait a month for the next episode.

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Created by Ross Richie
Written by Carey Malloy
Art by Scott Godlewski

Publisher:

Title: 30 Days of Night: Eben and Stella (Click to go to the release post)
Writer(s): Steve Niles and Kelly Sue DeConnick (Click to see other books from this writer released on this site)
Review source: Sky (Don't click it, read the review here... )

" Overall it's a fun series."
Review:

Sequel That Bites...

After the film adaptation of 30 Days of Night received only so-so reviews, instead of waiting for the movie on DVD, I decided to take a look at the original comics/graphic novels created by Steve Niles and Ben Templesmith.

There is the original 30 Days of Night that the movie was adapted from, and it was very good; there is #2 called Dark Days ; and there is #3 called Return to Barrow . Dark Days and Return were good, but not great like the original.

The first is the story of vampires that invade a small town (called Barrow in Alaska) at dusk on the first evening of 30 days before the sun will rise again. The second story is one of revenge; a survivor of the first story hunts and seeks to expose the existence of vampires; and the third story has the brother of a victim from the first story returning to Barrow to discover and expose the awful truth of what originally happened in the town. There are even more in the series too, but the above three complete the trilogy created by the original partnership of Niles & Templesmith.


Tap to see all '30 days' releases on this site...

The November 2007 release of 30 Days Of Night: Eben And Stella picks up and fills in an interesting gap that attempts to explain the cliff-hanger ending of Dark Days. So...chronologically it's the third in the series, but technically it is the seventh 30 Days release. It's the story of the fate of the sheriffs (Eben & Stella) of the original 30 Days, and if you're new to the series it pays to at minimum read the original and Dark Days first.

Niles is back for Eben and Stella, but Templesmith is out. It is co-authored by Kelly Sue DeConnick, but I'm guessing that she really did most of the writing, and Niles simply got paid for pretty much attaching his name to the seventh in the series. The story flow is just not as well put together as its predecessors.

It's a fast read that took less than an hour to get through. The sloppy way the vampire's lines were written in the predecessors' text bubbles is a bit straightened out for Eben and Stella; it is replaced by smaller type, and in some cases extremely small to the point that it made for some hard to read, headache inducing text.

Overall it's a fun series. But I believe that the cash-in is now here, and anyone looking to truly explore this series-in-print might serve himself/herself well to stop after Return to Barrow.

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Written by Steve Niles and Kelly Sue DeConnick
Art by Justin Randall (Author)

Publisher: