[Zacharie]

Title: Star Wars Old Republic Lost Suns (Click to go to the release post)
Writer(s): Alexander Freed (Click to see other books from this writer released on this site)
Review source: G-Man (Review 1 ) and Raymond Herrera (Review 2 ) (Don't click it, read the review here... )

Review:

Review 1 - Star Wars Old Republic Lost Suns #1 - Fans of Star Wars and the Old Republic games are in for a treat as a new series related to the game begins here.

The Good: There's no denying the appeal of anything Star Wars. As a huge fan, I have seen a lot during the time of the movies as well as the expanded universe set after the events of Return of the Jedi. As for the time period of The Old Republic, I'm not that familiar as I haven't had a chance to play the games.
With The Lost Suns, those familiar with the period as well as those like me, you can easily jump in. We have Jedi, Sith, lightsabers, etc. All the familiar elements are here, only with a different cast of characters. It's a big galaxy so it makes perfect sense that we should see the stories of others as well as other time periods.
The luxury of being set thousands of years before the time period we're all familiar with means there is a little more freedom in the storytelling. With the time periods closer to the movie trilogies, any writer will be limited to how crazy they make the story.

The Bad: It might be my unfamiliarity with the game, but despite my love for Star Wars, I wasn't as interested as I have been in other Star Wars comics. The issue does a great job in telling us who everyone is (at least their names) but I wasn't sure if they were characters that I would know if I played the games or new characters for this miniseries. The villain looks intimidating and I am slightly interested but I'm not sure if it's enough.
The lightsaber is without a doubt one of the coolest things in Star Wars but trying to make it look right in a comic is another story. And given that this story takes place thousands of years before the movies but not much has changed in the universe. You can see some vegetation on Coruscant but I would expect there to be a different feel to everything.

The Verdict: Star Wars fans and those that have played the Old Republic games are in for a treat with the latest miniseries from Dark Horse. Written by a senior writer of the game, it's safe to say that this story should retain the feel of the games. Because I haven't had a chance to actually play the games, it was a little difficult for me to get into the story, even though I am a big Star Wars fan. It's great seeing the Star Wars universe thousands of years before the movie time period and there is more freedom for the writer to tell the story they want to tell. Because of my unfamiliarity of the time period, I couldn't get fully excited over this as others that have played the games might.



Review 2 - Star Wars: The Old Republic – The Lost Suns #2 - From Dark Horse Comics, the publisher of comics like Solomon Kane, Hellboy and Usagi Yojimbo comes the second part of a Star Wars tale based in the Old Republic era, Star Wars: The Old Republic – The Lost Suns.

The Lost Suns takes place around the same time as the upcoming MMORPG from BioWare and follows the journey of Theron Shan, a descendant of Star Wars: The Old Republic’s Bastila Shan and the son of Jedi Grand Master Satele Shan. Unlike Bastila and Satele however Theron isn’t a Jedi Knight, instead he serves the Republic as a spy, working in the shadows on various missions.

In the first issue of the series Theron is on the trail of slavers when he is called away to search for a long lost Jedi Master named Ngani Zho. Zho actually trained much of the Jedi Council, including Theron’s mother and Theron as well before disappearing for years only to turn up near the Imperial border telling tales of his visit to the Vesla System, a territory that the Republic had ceded to the Sith Empire.

Issue two sees Theron reunited with his former teacher, who insists that the ruling Sith Lord of the Vesla system, Darth Mekhis is up to something extremely dangerous but for some unknown reason he has no memory of exactly what it is he saw while he was there. As out of it as Zho is though he still seems to test Theron as they work to escape from pursuing Sith Knights sent by Mekhis to hunt down Zho leading Theron to consider there truly is something to his former master’s story. After reporting in Theron learns that the Empire is up to something, leading him to agree to head into the Vesla system to uncover what dark secret the Darth Lord is keeping.

Visually the comic has a decent amount of detail, not as much as other Star Wars comics but it still looks good. The character designs look a bit simple but one thing that the artists definitely did well was portray the character’s emotions in the facial expressions. All of the text is clear and easy to read and everything has a nice flow to it. One of the most impressive pieces of artwork for this issue was the cover from Benjamin Carre which features an amazingly detailed Sith in full armor.

All-in-all The Lost Suns is developing into an entertaining story that is really getting good. This issue gives a glimpse of Theron’s past as he trains alongside Zho to hone his abilities before Zho leaves on his journey which helps to understand the character much better. In addition the series is building up a fair amount of hype for the coming volumes as Mekhis’ plans are still unclear but the hints are leading this reviewer to think that it will be a revelation that could change the order of the Old Republic. One of the drawbacks of the issue however is that for being a Star Wars comic it kind of lacked in the way of action and combat, hopefully this improves in issue three.

Each of the issues are reasonably priced but only forty pages, those of you that don’t want to get drawn in and then have to wait for the next issue may want to just pick up the full collection after it releases in graphic novel form

More info:

Publisher: Dark Horse Comics
Writer: Alexander Freed
Penciller: George Freeman, Dave Ross
Inker: Mark McKenna
Colorist: Michael Atiyeh

[Zacharie]

Title: Vincent Price Presents #4 (Click to go to the release post)
Writer(s): Chad Helder (Click to see other books from this writer released on this site)
Review source: mjansen (Don't click it, read the review here... )

Review: Vincent Price Presents #4

Tuesday, February 03, 2009 02:07 AM Mike Fish COMIC SCREAMS - Blood-soaked Pullbox

Why does lightning always crash around Vincent Price? It’s a very cool effect, but it’s just funny that the guy attracts lightning like Godzilla holding an umbrella. And though our dearly beloved Price left this world back in 1993, not long after bedazzling us as The Inventor of Edward Scissorhands, he still brings an electric feeling to our hearts and smiles every time we see him. In the world of horror and in film, he lives forever, haunting our dark houses and narrating our inner fears.

So for Bluewater Comics to bring master of creepy dialogue to their house of ideas was sort of a mixed bag for some, but I think the reason was right as he’s just as much an icon to the horror world as Freddy or Jason are today. Moreso in the sense of luring the viewer into something horrible like The Crypt Keeper from TALES FROM THE CRYPT, but only prettier of course. And like that cackling ghoul with the killer laugh, Vincent Price uses his distinguished speech to set the stage for each “terrifying” tale in VINCENT PRICE PRESENTS. That is, terrifying if you’re 12 years old. VINCENT PRICE PRESENTS is not quite mature enough for adults in my opinion. I think Vincent is also “the actor” in this modern reworking of the Bluebeard fairy tale, portraying the usual mad doctor role, but I’m not exactly sure as artist Giovanni Timpano doesn’t exactly capture a likeness. Cover and Intro/Outro artist Joel Robinson appears to get it perfectly, which I’m guessing could be from photo-realism art taken from past movies or photos. I would have enjoyed this book a whole lot more if Robinson did the entire book this way, but I can see the contrast being necessary to separate the storyteller from the scary tale. But again, I’m guessing this series is aimed more toward teenagers than adults.

The writing is good, taking the classic tale of Bluebeard and turning it on its ear rather than recycling the hundred or so renditions before it. In place of a wife is a son, whom is being tested by his mad scientist father when he brings him down to the basement to meet a robotic dog named Canus. If he can win the trust of Canus, the son will be rewarded by the father. And so the son meets the robotic dog, and wins his trust with ease. From there, the usual tale kicks in where the father must go away and leave the child to stay in a large mansion by himself, but also, never to go into a room he is forbidden to see. Like most children, that’s the first place the son heads to, and the secret of the room is revealed in new, but very familiar fashion. It’s tricky, but works nicely if you stop and think about the original fairy tale for a second. Writer Chad Helder pulled off a nice little magic trick with this one, and with Vincent Price peeking his head around the corners of this book, one can’t help but to like its youthful, electric feel.

GRADE: 3 of 4

CONTINUE READING? These are fun to read, especially for younger audiences looking to get a taste of horror, and a great introduction to horror legend, Vincent Price.

More info:

- Written by Chad Helder, Art by Giovanni Timpano and Joel Robinson
- Published by Bluewater Comics

[Zacharie]

Title: Darth Vader and the Lost Command (Click to go to the release post)
Writer(s): Haden Blackman (Click to see other books from this writer released on this site)
Review source: Ryan K. Lindsay (Don't click it, read the review here... )

Review: Darth Vader and the Lost Command #1

A comic about an early mission of Darth Vader’s is always going to be a good idea for a comic. This book takes place approximately nineteen years before the battle of Yavin so it means we’re getting a nascent Sith Lord. This opens up plenty of character space to play with, and the mission is simple enough to not get in the way. Vader is tasked with finding Grand Moff Tarkin’s son who is lost on his own mission.

The opening is strong as Darth Vader is stripped back literally and emotionally. For all the medical droids and mechanical arms, this is a character-fuelled moment – and a very good one. It paints Vader as still very much being a man beneath all of the sinister black. This is a better use of the human interior in six pages than Lucas managed in three prequels.

Once into the mission, the action takes a leaf out of one of the greatest set pieces in the original trilogy by ordering up a heaped serving of snow. The action flows through to where the narrative needs to be, but it all feels cold (pun intended). It’s just shooting and running; there’s little heart to what transpires. It feels like video game action. That’s good for what it is, but it will never be great.

Vader is certainly shown as a cold and ruthless general in battle who knows how to get the job done, though there are hints he might still be a little green behind the ears within the mask. Making him kick ass and chew bubble gum in the field is a well-played card, but it’s a pity that it sort of goes against the tone and heart the first six pages of set-up. I’d rather get back to the man in the suit, not the killer who uses the force to summon a snow storm – I know, it is actually cool, but I want some characterization, too, dammit.

Leonardi and Green do a great job at making the art fit what you’d think of as a Star Wars house style. Considering most of the action regards suits, masks, and mechanical robots and transports, everything still looks fluid and lifelike. This isn’t a rendering of a mask from a Google search, this is a soulful look into the distance of a man who has lost his soul. I could watch these guys draw the Star Wars U all day.

This issue is a solid opening to this case but it doesn’t present anything beyond the realm of special. The first pages hint at something deeper, but once Vader is on the trail it devolves into an action sequence that doesn’t hold enough heart to it. I’m not sure if this lost tale of the Lord Vader is supposed to show him as still a man, or a killer Sith general, or anything in-between. You expect some sort of hook at the end and when it comes it falls slightly flat. The fact this is Vader, and the art is stellar, is enough reason to come back but the next instalment needs to be special and must decide on its portrayal of Vader.

More info:

Story by Haden Blackman
Art by Rick Leonardi, Daniel Green
Colors by Wes Dzioba
Letters by Michael Heisler
Cover by Tsuneo Sanda
Publisher Dark Horse Comics

[Zacharie]

Title: Warlord of Mars (Click to go to the release post)
Writer(s): Arvid Nelson (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review: Warlord of Mars #1

I've never read any of Edgar Rice Burroughs' "John Carter of Mars" stories, although of course I'd heard of the old pulp novels back in the day, and knew some of the basics. Reading "Warlord of Mars" #1, though, showed me just how many of the basics I still didn't know about the character. Like, for instance, that he was a captain in the Confederate Army during the American Civil War, which had recently ended as the comic begins.

Arvid Nelson could have probably left that part of the story out, or at least skimmed it over in his adaptation of Burroughs' prose into comics, but instead we leap right into the middle as Carter and his friend and fellow former Confederate officer James Powell get into a fight with several Union officers while stopping for a beer in Arizona Territory. It's interesting, because at a glance it's hard to not focus on just Carter being a Confederate soldier. As the story unfolds, though, it becomes clearer that Carter has two very specific allegiances, and they're specifically to his home state of Virginia, and to his friends. These loyalties are ones that I suspect will become important as "Warlord of Mars" continues (and Mars becomes Carter's new home and he makes new friends there), and I appreciated that Nelson plays it subtly as this story unfolds.

At the same time, Nelson does understand that the book is titled "Warlord of Mars," and wisely devotes half of the first issue to the story unfolding on Mars, even as Carter is still on Earth. It's not quite as interesting so far, but it does establish the look of the Martians (as well as large killer albino apes on the planet), and it keeps people from feeling like this is a book that promised Mars and gave us the deserts of Arizona instead.

What struck me the most, though, was Stephen Sadowski's art. It's been a while since I've read a book drawn by Sadowski, and while I've always liked his art in the past, this is the best work I've seen from him yet. Sadowski draws Carter with a strong jaw line and a rugged and manly expression, exactly the kind of hero that Carter should be. The last panel of Carter before he leaves the saloon has him smiling and tipping his hat, and if an actor looked that handsome and charismatic in a photograph they'd turn it into a movie poster. There's also a lot of energy in Sadowski's art; when the gun fight breaks out in the saloon, you can almost hear the explosions and the crunch of wood as everyone goes flying across the room. Even the backgrounds get a lot of detail from Sadowski, with gorgeous Arizona and Martian landscapes both helping set their respective scenes. This is one handsome-looking comic.

In the end, Nelson's scripting is nice, and it has a nice flow to it, but the biggest attraction is what Sadowski brings to the page. Consider me interested in reading more of "Warlord of Mars" based on this first issue, and at just a buck it's a nice way to lure other curious readers in too. This is a good, solid, enjoyable first issue. If you're interested in a little pulp adventure in your life, you should check it out too.

More info:

Story by Arvid Nelson, Edgar Rice Burroughs
Art by Stephen Sadowski
Colors by Adriano Lucas
Letters by Troy Peteri
Cover by Alex Ross, J. Scott Campbell, Joe Jusko, Lucio Parrillo

Publisher:

[Zacharie]

Title: Mystery Men (Click to go to the release post)
Writer(s): David Liss (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Review 1) and Dave Richards (Review 2) (Don't click it, read the review here... )

Review: Mystery Men #1

(Review 1) First, the elephant in the room: When I hear there's a comic book called "Mystery Men," I instantly think of the one written by Bob Burden, which spawned an underrated and entertaining film. So going into this "Mystery Men" I had a slight chip on my shoulder. I like Burden's comics, and seeing the title (and even Burden's "Who are the Mystery Men?" tagline) get poached annoyed me.

So with all of that in mind?

This "Mystery Men" from Marvel is a great comic.

I've been seeing Patrick Zircher draw nice looking comics for decades now, but this one feels like a huge leap forward from good to great. I made it all the way to the third page before I had to stop and double-check the credits to make sure this was Zircher. The panel with the starlets in their dressing room, for instance, reminds me of Michael Zulli, with the beautifully rendered flowers, the purple curtains with the stars in the background, the overall look and feel of the room. This isn't a comic that has to verbally tell you that it's set in the 1930s. You look at it and it clearly is the 1930s.

With each page, Zircher's art just jumps out at you more and more as the perfect choice for this story. Characters who you can only see their eyes are tough to draw by many, but Zircher nails it, showing shock and sadness and surprise in a tight zoom-in on the Operative. With the fine lines around his eyes, it's hard to not think of Guy Davis's run on "Sandman Mystery Theatre" (the setting certainly doesn't hurt), and by the time you're done with the comic, you'll be thinking, "So that's what a cross between Zulli and Davis would look like."

Davis Liss' script is solid, moving us through the introduction of the setting and the characters with ease, and providing just the right amount of tension and drama early on in the script to hook the reader. Liss and Zircher provide some genuine moments of horror here, which was a good surprise; the appearance of Nox and what happens to those she possesses is an eerie, haunting scene.

Every single scene in "Mystery Men" has a great moment that punches through and demands your attention. This is a very strong first issue, and it made me go from "dubious" to "eager" in just 32 pages. I might not be crazy about the title of the comic, but in every other way this is a wild success. Make mine "Mystery Men."

(Review 2) Throughout its established history, the Marvel Universe has experienced periods of great conflict and turmoil. Usually when this happens a group of heroes comes forward to combat evil and fight injustice. When outlaws ran amok in the Old West they were confronted by heroic gunslingers such as the Two Gun Kid, the Rawhide Kid and Kid Colt. During World War II, when the tyranny of the Axis Powers threatened freedom, heroes like Captain America, the Human Torch and the Sub-Mariner stepped forward to take them on.

What about the '20s and '30s though? The time leading up to WWII was just as turbulent as the other heroic eras, perhaps even more so. Violent organized crime gangs waged war against each other in the streets and corruption ran rampant. It was definitely an era of the Marvel Universe that needed heroes and in 1932 it got them. Announced yesterday at C2E2, the five-issue "Mystery Men" miniseries from writer David Liss ("Black Panther: The Man Without Fear") and artist Patrick Zircher ("Spider-Man Noir: Eyes Without a Face") introduces readers to the first masked crime fighters based out of the Marvel U's New York. CBR News spoke with Liss about the June-debuting series, which features five all-new characters.

Fans of Liss' work on "Black Panther: The Man Without Fear" know the writer is capable of telling a modern day pulp story, but he's equally comfortable telling pulp stories set against a historical backdrop. His first comic work was the "Daring Mystery Comics 70th Anniversary Special" starring the World War II era costumed hero known as The Phantom Reporter. In addition to his comic work, Liss has penned a number of best-selling historical thriller novels, the latest of which, "The Devil's Company," was published to critical acclaim in 2010.

"This was something I got excited about doing as soon as [editor] Bill Rosemann approached me with the prospect of doing it," Liss told CBR News. "Obviously I'm comfortable writing in a historical milieu and I had done so before with my Phantom Reporter one-shot. It was also a lot of fun to craft some of these new heroes from scratch and figure out how a first generation of costumed vigilantes would come about."

In 2009, writer Ed Brubaker and artist Steve Epting took readers back to 1939 with "The Marvels Project" and showed how the coming conflict of WWII gave birth to the Marvel Universe's first generation of costumed super heroes. In "Mystery Men" Liss takes readers back several years and examines the origins of an earlier group of pulp-inspired heroes. "'The Marvels' Project' was basically recounting the origin of the Marvel Universe from its traditional starting point," Liss said. "What we did with this book was that we decided to set things a few years earlier and deal less with the first super heroes like Captain America, the Human Torch and Namor and deal with the first costumed vigilantes; the first people to put on masks and fight crime."

In "Mystery Men" this initial wave of costumed crime fighters include The Operative, the Surgeon, the Revenant, the Aviatrix and Achilles. "Since it’s an ensemble piece, it's hard to say exactly who the protagonist of 'Mystery Men' is, but the Operative is definitely [a] central figure in the story. "I don't want to say too much about him because a lot of his life story -- who he is and how he got to be who he is -- is revealed over the course of the five issues," Liss explained. "When we first meet him he's not a vigilante in the traditional sense but he is already putting on a mask to accomplish certain kinds of things. So he's already used to operating underground and hiding his identity. It was very important to me that at least some of the characters be people who were already wearing costumes before they became vigilantes."

The Operative serves as a central figure, but each character plays a pivotal role in the series

"Mystery Men" is a team book and the Operative will initially serve as the point of view character into the mysterious world of the Marvel Universe's pulp-inspired heroes. "Some of the other issues will have other characters narrating. We definitely jump around a bit in perspective, but his is the opening and the closing narrative," Liss said. "I think it's fair to say he's the center of the story, but I wouldn't want to suggest that any of the other characters are of lesser importance."

Like the Operative, the four other Mystery Men will have costumed identities that developed organically out of their backgrounds. "The Surgeon was previously a doctor. He's someone who would be used to wearing a mask in ordinary life. The Revenant is a former stage magician and he uses that background to help create the illusion that he has mystical powers. Then we have the Aviatrix, and when Bill and Patrick and I first started talking about this project we thought it would be fun to have somebody who wears a jet pack. But we said, 'Okay, let's make it a woman,'" Liss elaborated. "We wanted to do things that were a little bit away from the mainstream of the pulp formula, while still adhering to it. We wanted to bring a more contemporary sensibility to some of the pulp motifs, so creating these new characters was a lot of fun."

Liss' creations in "Mystery Men" will find themselves embroiled in a story similar in tone to those featured in Pulp magazines such as "The Shadow" or "The Spider," where gritty crime stories were mixed with elements of the fantastic. "'Mystery Men' begins as a traditional murder mystery. A beautiful Broadway starlet is found murdered. Her death is complicated and involves a nasty family dynamic and a much larger plot as well," Liss told CBR. "There are two principal antagonists in the story. One is another new character and the other is somebody from the lower drawers of the Marvel Universe. I wanted to pick a character who I thought would fit in naturally with this pulp environment, but also add a good comic book element to it. I didn't want to make this simply a noir story. I wanted a dynamic comic book element to it."

Rounding out the cast of "Mystery Men" are a number of new and familiar characters. The familiar faces will include figures from both real world and Marvel Universe history.

Artist Patrick Zircher has been tasked with bringing to life the main and supporting cast of "Mystery Men." Zircher's covers for the recent "Spider-Man Noir: Eyes Without a Face" mini-series showed his aptitude for drawing pulp inspired stories and Liss has been amazed by the work his collaborator is doing on "Mystery Men." "I've seen some of Patrick's art and it's really hard for me to sufficiently express my enthusiasm for what he brings to this. There hasn't been a time where I see a page of his art and don't feel incredibly lucky to be involved with this project," Liss remarked. "I think he's an absolutely amazing artist. His style is incredibly crisp and vivid and detailed, but at the same time there's all the elements that I think people will want from a pulp story. I think whatever success this book has it will be in large part due to what Patrick brings to it. It's one of the best looking books I've ever seen."

More info:

Story by David Liss
Art by Patrick Zircher
Colors by Andy Troy
Letters by Dave Sharpe
Cover by Patrick Zircher, Andy Troy
Publisher Marvel Comics

[Zacharie]

Title: Robert E. Howard’s Savage Sword (Click to go to the release post)
Writer(s): Various writers (Click to see the list of writers from comics on this site)
Review source: Zack Davisson (Don't click it, read the review here... )

Review: Savage Sword #2

Even though he is one of my favorites, I will be the first to admit that Robert E. Howard was not a great writer. He was mediocre at best, with limited style and skills, stilted dialog, often hack-kneed plots, and shallow, one-dimensional characters. But somehow, through some mystical confluence of inspiration and muse, when Robert E. Howard wrote Conan he was transfigured; he became a great writer, one of the greatest. But only when he was writing Conan.

Okay, so I'm being uncharitable. Howard also did a good job with King Kull, Solomon Kane and a few others. His work was character-driven; if he had a good character, he produced good writing. If he had a great character, he produced great writing. And if he had a mediocre or completely lame character… well, you can guess what level of writing he produced.

Dark Horse took on a daring challenge with Robert E. Howard’s Savage Sword: to take these lesser-known, lesser-written characters and make good comics. Sailor Steve Costigan. The desert gunslinger El Borak. Dark Agnes de Chastillon, who would be combined with another Howard creation Red Sonya of Rogatino to become the comic character Red Sonja. The Viking Niord. Not exactly household names. There are six stories in total, two of them continuing serials, one a reprint from 1970s fantasy anthologies, and one an illustrated version with Howard’s text. That makes for a good mix, and allows new readers to pick up any issue while still encouraging ongoing collection.

I am impressed with the results. One of the benefits of using the lower-grade Howard pantheon is that the writers are more free to write their own stories. When I read Conan comics, I am constantly comparing them to Howard’s Conan and am nitpicky about the departures. But when I read this El Borak story, I just sit back and enjoy.

The showpiece of this anthology is El Borak, the Texas-Cowboy-in-the-Middle-East who makes his first comic appearance here. Rendered by writer Mark Finn and artist Greg Scott, El Borak is remarkably well done, with cinematic pacing and imagery. This story is an original piece by Finn, set as a sequel to Howard’s El Borak adventure Hawk of the Hills. Finn and Scott have obviously studied their desert adventure flicks from the period, because they captured the look and feel just right. The sword duel between El Borak and Hakim Khan was fantastic -- beautifully written, beautifully drawn.

The Dark Agnes is another original story, which is not surprising as Howard only wrote three Dark Agnes stories. This Dark Agnes is still a “She-Devil with a Sword” but don’t expect her to run around in a chainmail bikini. Written by Marc Andreyko with pencils by Robert Atkins, Dark Agnes is one of the two continuing serials. Andreyko gave Dark Agnes a more feminist theme than Howard probably intended, but then he was a 1930s Texan. Atkins’ art is good enough, but not particularly memorable.

I have never liked Sailor Steve Costigan, and the story here didn’t convince me otherwise. He is one of Howard’s “fighting characters,” a tough guy who gets into problems then settles them with his fists -- basically Popeye will all the mirth sucked out. Writer Joe Casey and artist Pop Mhan do their best to make something out of the meager source material. Mhan in particular draws some interesting faces, while Casey tries to weave some twists and turns into the tale. But ultimately it is a typical Sailor Steve Costigan adventure, and he just punches people until he wins. The following Sea Cruise, which combines Howard’s original text with illustrations by Tim Seeley, is a far better story. The scene of a corpse getting its eyes eaten out by crabs is one of the best in the book.

The Valley of the Worm is the sole reprint, coming from 1972's Supernatural Thrillers #3. Story-wise, this may be the worst in the book.

More info:

- Drawing by various artists
- Published by Dark Horse

[Zacharie]

Title: Stinz (Click to go to the release post)
Writer(s): Donna Barr (Click to see other books from this writer released on this site)
Review source: Rothschild (Don't click it, read the review here... )

Review:

Stinz Lowhard is a half-horse, mayor of the Geiselthal valley, grandsire of nine children, and major in the Army (outside the Geiselthal) thirty years ago. At The End Of The War, returning home, he threw his machine-pistol over a cliff. Now, one of his grandsons and a two-legger boy discover the rusty old weapon and, not knowing what it is, bring it back to show the other kids. Although the gun is harmless, Stinz snatches it away from the children--it is literally the last such weapon in the world, all the rest having melted away at The End Of The War. Initially repelled by the thing, he boils it, intending to disassemble it and get rid of the pieces. But the weapon has been having a strange effect on him, and he reassembles it and digs out a box of bullets (preserved in skunk oil). Unfortunately, his unpleasant eldest grandson, Stinzl, is extremely curious about the weapon and trails Stinz, wondering what's up as the old stallion sets up pumpkins on a log in a remote part of the Anger (mountain meadows).

Reminiscing about how he had ditched the gun, Stinz loads and finally fires the weapon, which scares Stinzl out of hiding and sends him galloping down the meadow in terror. The sound also attracts Stinz's friend and war-mate Sgt. Gift (a "two-legger," though he only has one left). Gift is astonished not only at the existence of the gun but that Stinz's firing it didn't set off the Skin Effect--a dreadful, unexplainable flaying whenever anyone tries to recreate the prewar technologies. Another effect of The End Of The War is that no one who witnessed it is able to talk about it without being flayed. With great glee, Gift fires the weapon himself. However, the two are chased out of the Anger by a thunderstorm.

Meanwhile, the various colts and two-legger children have found the box of bullets, and they are quickly scattered amoung the kids, who themselves scatter with their illicit booty. Stinzl, recovering himself, begins to covet the gun and starts to collect the bullets from his puny siblings.

Another effect of The End Of The War, which is not fully explained here, was that humans and animals tended to consolidate, resulting in humans with fangs and claws and other animal characteristics, such as antlers or lizard tails. One of the more grotesque examples of this consolidation is Kilan, a man-faced, fanged, carnivorous, extremely stupid black horse in the care of the Baron and Baronin of the Geiselthal. One of the little girls who took a bullet encounters Kilan, who saves her life when she loses her grip on the rocks she's climbing. The Baronin chastizes the "riding monster" for seemingly trying to eat the girl, but Kilan is distracted by the presence of the bullet on the grass and picks it up in his mouth, trying to prevent the humans from getting at it. He inadvertently swallows it--and in a flash and a shower of flesh, he separates into two soldiers and a very old dog. The men and the Baronin have only a few minutes to gawk and talk at each other before the dog coughs up the bullet and dies... and the Skin Effect is triggered, with horrible consequences. Kilan is reborn as a white, normal-toothed, intelligent man-faced horse, and he (they) immediately rejects further confinement at the Baronin's castle, running off to try to hide at Stinz's house, where Stinz and Gift are warming up after being rained upon.

As Stinz gapes at the transformed Kilan, Gift makes some casual comments about how this effect of The End Of The War is well known outside the Geiselthal--and Stinz, slightly drunk, explodes in anger, blaming Gift and his men for bringing this "disease" into the valley. As Gift and Kilan are unable to talk about this subject, and Stinz doesn't dare tell his people about it without being flayed himself, Stinz ultimately orders the two off his land. But nothing has been solved, and Stinzl has six bullets now....

EVALUATION:
Stinz is a great character, and Stinz is a terrific series. I have never failed to be impressed by the originality of Donna Barr's work, and it's fascinating to watch it mature and become ever more subtle and complex in viewpoint while remaining highly accessible. For example, the concept of "playthings" covers not only the gun and bullets but also the unfortunate humans subject to the whim of whatever Ended The War and inflicted the Skin Effect and Consolidation on them. Or witness the gun's many effects on Stinz: horror, disgust, fascination, perverse pride, exultation, power, regret--sometimes at the same time. That's awfully good writing, and it shows a keen understanding of human nature. But then, Barr has always understood people and horses extremely well. I've said elsewhere that there's no one to touch her for human-animal characters. Witness the flashback where Stinz, panicky after he threw the gun away, desperately tries to control himself lest he dances himself "right off the cliff."

I love Barr's art. Her black-and-white line drawings are perfect for the Internet; go check them out. On occasion her work can be a bit rushed, but not here. There's a lot of emotion in her work, as well as a humor, such as when Kilan (still black) licks Stinz's face, or when Stinz opens the box of skunk-oil-preserved bullets, which affects both him and the hidden Stinzl.

This is a thinking person's book and deserves a place in all adult collections. Most teens may be too addicted to superhero stuff to appreciate it, and it's not a kid's book--too sophisticated--though bright kids might like it.

More info:

GENRES: Fantasy; funny animals (sort of)
AUDIENCE: Adults, teens; very mild language.

[Zacharie]

Title: Star Wars: Jedi – The Dark Side (Click to go to the release post)
Writer(s): Scott Allie (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: Star Wars: Jedi – The Dark Side #1

The charm of the “Star Wars” brand frequently tracks back to an immediate familiarity with the characters. This crosses from the movie screen to the various licensing vehicles the brand has become synonymous with – action figures (and other toys), video games, novels, and, of particular interest here, comic books.

Qui-Gon Jinn and Yoda both appear in this issue, but beyond that we are given a new handful of Jedi and Padawans to embrace. These characters have been introduced elsewhere, but if comics are your only “Star Wars” supplement to a primary connection through the feature films, this is the first you’ll meet Tahl, Xanatos, and Orykan.

This book is largely by-the-numbers: political turmoil on a far away planet requires the attention of the Jedi. The Jedi, as it turns out, have personal investment related to the political plot that truly is more than it seems. The Jedi are certain to be tested emotionally, but not in this first issue where we simply see that there are signals of emotional frailty. Xanatos strikes me as quite petulant and unworthy of accomplishing even a Padawan post, but if all characters were to pre-ordained expectations stories would have nothing to drive them, I suppose.

There’s potential here, especially for readers who are compelled to read more of the pre-“Phantom Menace” adventures of Qui-Gon Jinn. Jinn is largely an untapped resource, resplendent with stories much the same way Luke Skywalker or Han Solo were following their introduction in the first “Star Wars” film thirty-odd years ago. Jinn has the benefit of being a Jedi Master while also being a human character with compassion towards others. Surely that’s the perfect blend of a leading character in a “Star Wars” story. Scott Allie doesn’t make Jinn as compelling as he could be, but Allie is mindful of the voice Jinn uses and the concerns that would drive him. Pairing him with both a Padawan and a trusted ally gives Jinn much to work with.

Mahmud Asrar’s art in this book is more sketchy than I am accustomed to seeing from him. In this case it works, delivering the essences of the characters without soullessly tracing from photos or movie stills. Paul Mounts’ moody colors help this book deliver a range of emotion. Xanatos feels pangs akin to what we’ve seen in the films from Luke or Anakin, and mounts’ colors call those scenes to mind with adept skill.

This is a fine addition to the “Star Wars” brand under the Dark Horse stable. With Jinn’s fate prescribed in “The Phantom Menace,” Allie is able to give the character a chance to live a little, to breathe, and to show us why he is such a lauded Jedi.

More info:

Writer: Scott Allie
Artist: Mahmud Asrar
Colorist: Paul Mount
Cover Artist: Mahmud Asrar

Publisher:

[Zacharie]

Title: Star Wars: Blood Ties - A Tale of Jango and Boba Fett (Click to go to the release post)
Writer(s): Tom Taylor (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: Blood Ties: Jango and Boba Fett #2

Tom Taylor’s story of the Fett family continues in this issue, splitting time between original trilogy and prequel timelines, between Boba Fett and his “father” Jango. This issue picks up where the last left off, with Jango Fett looking himself in the face, or rather, looking at the face of himself in the form of a clone. The situation forces Jango to answer the question, “Can you shoot yourself?” The answer, however difficult or easily it comes from Jango’s mouth, has repercussions lurking behind it.

Taylor’s story is a peek under the helmets of the Fetts. Jeffrey Renaud had a chat with Tom Taylor and a very special Fett-related guest right here on CBR where Taylor informed Renaud that he didn’t want to reveal too much about the Fetts for fear of spoiling their mystique. Rest assured Taylor only gives enough information to spike the intrigue of this tale through its covers. Taylor reveals that Boba definitely has some unresolved issues regarding his father and then gives Boba a manifestation of those issues to unleash upon.

Scalf’s art is nothing short of incredible. I don’t have enough superlatives to heap upon the stunning visuals that fill this book. I’m a fan of hardcovers and original graphic novels, and part of me wishes this series were just released as an original graphic novel, as I think Scalf’s art would be much better presented in that format. The rest of me quickly beats that part into submission and then smacks it around, reminding it that this book is happening on a monthly basis and, for four months (two so far and two more to go) at least, I can expect awesomeness in the form of art from Chris Scalf.

Scalf’s “Star Wars” universe is straight from the movies, with Zuckuss, or another Gand bounty hunter, making an appearance alongside a Besalisk (like Dex Jettster from “Attack of the Clones”) as we meet the quarry Boba Fett is after. Mace Windu’s influence upon the Fett clan is on display here, and Scalf does a marvelous job of presenting Mace Windu from Boba’s point of view.

I like the split tale between Jango and Boba. It’s a natural flow of story, reflecting upon how the past has fueled the present. The two tales come crashing together at the end of this issue, setting up an exciting story for the remainder of this series.

I’m not the most ardent “Star Wars” comic book collector, but so long as I get more Boba Fett goodness, I’m in. It seems to me that this is a story set to appeal to fans of both trilogies, whether you first knew Anakin Skywalker as Darth Vader or little Annie. The Fetts span that gap, adding depth to the story and gray to the conflict. From here, I’d dare say that there’s a logical leap to be made by Dark Horse to offer up more bounty hunter adventures.

More info:

Story by Tom Taylor
Art by Chris Scalf
Letters by Michael Heisler
Cover by Chris Scalf
Publisher Dark Horse Comics

[Zacharie]

Title: The Secret History (Click to go to the release post)
Writer(s): Jean-Pierre Pécau (Click to see other books from this writer released on this site)
Review source: Greg Burgas (Don't click it, read the review here... )

Review: The Secret History #5

I don’t like the schedule this book in on, but like a lot of comics that come out sporadically, I’m willing to forgive it if the product is good, and I’ve been loving this comic (and I know that as a history buff I’m probably pre-disposed to like it, but it’s still a very good book).

This issue is set against the backdrop of Restoration England, so we get a reason for the Great Fire of London, Sir Isaac Newton, the Hellfire Club, and the Roanoke mystery. The four factions that have been battling for centuries in this book continue to fight, and it’s somewhat difficult to judge this because of the fact that it’s part of a whole, but the way Pécau has blended history with this fantastical story is very interesting, and no matter who’s doing the art, it’s been stunning. Pilipovic shows the decadence of Charles It’s London and the horror lurking around every corner, whether it’s the regular horrors of the age or the more disturbing things associated with the runes and the magic at play in this series. The oculus, for instance, a dead creature brought back to life, is creepier than your regular zombie thanks to the fact that every orifice on its body is sewn shut. This gives it a particularly terrifying appearance.

I realize these books are 6 dollars, but they’re longer than most comics, and they’re really packed with great art and nice plots. I’m sure they’ll form a grand narrative that will be quite dazzling. I hope the final two come out this year, because it would be nice to read them soon!

More info:

Jean-Pierre Pécau (writer)
Leo Pilipovic (artist)
Carole Beau (colorist)
Fabrys (colorist)
Edward Gauvi (translator)
Marshall Dillon (letterer)
Joyceé El Hayek (letterer)
Archaia Studios Press.

[Zacharie]

Title: The Strange Case of Mr. Hyde (Click to go to the release post)
Writer(s): Cole Haddon (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review: The Strange Case of Mr. Hyde #1

"The Strange Case of Mr. Hyde" is an odd little comic, simultaneously a sequel to Robert Louis Stevenson's "The Strange Case of Dr. Jekyll and Mr. Hyde," and a twist on the real-life case of the serial killer called Jack the Ripper. Reading it brings to mind other creations like "Silence of the Lambs" and "The League of Extraordinary Gentlemen," and while it doesn't quite hit the heights of either, it's overall a good opening.

There's something perversely amusing about the idea of an investigator interviewing an imprisoned Dr. Jekyll (whose death at the end of Stevenson's novel turned out to be part of a cover-up) to try and get into the mind of Jack the Ripper. Is the idea a little silly? Certainly. But it's an entertaining enough idea, mashing the real world and a literary creation into a single setting.

The star of the comic is inspector Thomas Adye, who's a bit underdeveloped right now, but it's clear that Cole Haddon is planning on filling in the gaps over the course of the four issues. We're getting glimpses of his childhood, seeing his poor relationship with his fellow police officers and his struggle to deal with the imprisoned Dr. Jekyll. While Jekyll comes across as the more flamboyant and attention-grabbing character, it's Adye whom we'll ultimately follow.

The depiction of the supposedly-cured Jekyll is at odds to those who have read Stevenson's novel. That's not necessarily a problem, since Haddon seems to be hinting that Hyde is not truly gone as Jekyll claims, but it doesn't quite fit with those who knew Jekyll thinking that the problem is finally gone. Jekyll himself is kept visually off-stage this issue, and I'm curious to see how closely (or not) Haddon and artist M.S. Corley follow the original, where Hyde was a smaller, less muscular man than Jekyll, contrary to popular depictions of the duo. But for now, so much is still supposition on the part of the reader, and I'm willing to see if Haddon surprises us or not.

Corley's art is a good choice for the comic; he draws it in an old-fashioned manner, but still harkening to modern techniques. I love the evenly spaced lines to show texture in people's hair, for instance, or the almost-glowing eyes of the Jack the Ripper character that peek out between the hat. There's an angular quality here too that reminds me of old Mike Mignola art; add in the little details like the wallpaper print, or the intricate lab for Dr. Jekyll, and it's a visually pleasing comic.

"The Strange Case of Mr. Hyde" is a solid first issue; where it goes from here, though, is anyone's guess. Still, Haddon and Corley give us enough to want to see more, and I'm entertained enough to want to stick around for the next chapter. If they can keep this initial momentum up, we'll have a winner.

More info:

Story by Cole Haddon
Art by M.S. Corley
Colors by Jim Campbell
Letters by Richard Starkings
Cover by M.S. Corley, Jim Campbell
Publisher Dark Horse Comics

[Zacharie]

Title: Dark Horse Presents (Click to go to the release post)
Writer(s): Paul Chadwick and others (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Review 1 & 2) (Don't click it, read the review here... )

Review:

Review 1: Dark Horse Presents #1 - I remember reading "Dark Horse Presents" some 20 years ago and being utterly taken with the anthology, so it's a thrill to see it back in a print form. "Dark Horse Presents" was the first comic published by Dark Horse, so seeing it back feels like a return to form of sorts. And happily, it's a mix of old standbys as well as a new wave of creators.

It's apt for the comic to open with Paul Chadwick's Concrete, since the character made his debut in the original "Dark Horse Presents" #1. It's also one of the stronger stories in the anthology, a reminder that Chadwick's off-beat slice-of-life stories (that just happen to star an eight foot tall rock behemoth nick-named 'Concrete') are impossible to replicate. Chadwick over the years has shown that he can hit just about any genre or style in "Concrete," from a meditation on nature to an action thriller, and half the fun of "Concrete: Intersection" is trying to figure out which we're ultimately getting. It sets the tone well, and the rest of the comic unfolds from here.

There are a couple of other instant gems in "Dark Horse Presents" #1. The first chapter of "Finder: Third World" from Carla Speed McNeil sums up in just eight pages her protagonist of Jaeger Ayers, gives you a hint as to the world he lives in, and has a strong punch line. If that's not enough, though, it's beautifully drawn (the slouching, suit-wearing, bloodied Jaeger in the opening splash speaks volumes), to say nothing of his former employer's hand as it moves to and then away from a certain person's shoulder. Also a real charmer is the opening of "Snow Angel" from David Chelsea, whose autobiographical "David Chelsea in Love" still entertains me decades later, and who jumps genres and styles radically to present a story that's part fairy tale, part whimsy, and part superhero. I love the almost wordless approach to storytelling he takes here; no dialogue is needed to carry the story to its final page, and it has such a mix of joy and wonder as we watch Snow Angel make her imprint in the snow and chase after a bicycle thief. It's quite different from anything else I've seen from Chelsea, and I'm dying for the next chapter.

But like all anthologies, "Dark Horse Presents" #1 is a mixed bag. Some stories only half of their entry working for them; Neal Adams draws the first "Blood" chapter beautifully, for instance, but the story felt repetitive (not a good sign at just eight pages) and slightly stale. And likewise, Richard Corben's "Murky World" is interesting to look at (as is just about anything Corben draws, with its exaggerated features and somewhat unnerving sterile overall look) but the story just isn't jumping out.

Those expecting a huge "Xerxes" chapter from Frank Miller might also be disappointed. It's just a four page preview, but while we don't get much in the way of story, it is a pleasant surprise to see Miller back in black and white, and to get those strong, primal smears of ink to give us the ocean, or the stark look of the oars slicing into the water. It's the nicest art from Miller I've seen in a while, and it gives me some small hope that "Xerxes" will work out.

Ultimately only two pieces didn't work for me at all, and one of them is simply due to the fact that I don't care about "Star Wars" comics. Fans of "Star Wars: Crimson Empire" will no doubt eat up this prologue (it's certainly got a strong creative team in the form of Randy Stradley and Paul Gulacy) but the subject matter just isn't for me. And while others might be fans of Michael T. Gilbert's "Mr. Monster," this is the sort of parody that always makes me wonder if the humor works better for someone else. To me, it's just not funny, and Gilbert's art likewise comes across as unattractive.

Like so many anthologies, "Dark Horse Presents" #1 is a big mixture of hits and misses. That said? The hits easily outweigh the misses and the "not quite" entries. If each issue of the new "Dark Horse Presents" has stories by people like Chadwick, McNeil, and Chelsea, I'll keep buying each issue, guaranteed.

Review 2: Dark Horse Presents #2 - With the second issue of the all-new "Dark Horse Presents," Dark Horse has a big task: Convince readers who came back for a second helping that they should make this a regular purchase.

Fortunately for all involved, the best three serials from the first issue are back for more. Paul Chadwick's "Concrete" story both informs new readers about the setup of the comic (this time bringing up the aliens that put Concrete into his strange stone body, without dumping exposition at us) and also makes it dramatic and touching in its own right. It's those latter two that are hallmarks of "Concrete" to me, and it's nice to see them here. What seems like a simple enough story about a man at the bottom of a pit turns into much more, and it raises questions that don't have a simple answer ahead. These "Concrete" stories make me more than ever want a new mini-series from Chadwick, and hopefully that's where this is heading.

Carla Speed McNeil continues her "Finder: Third World" serial with another story of Jaeger as a courier. With this chapter, she lets the reader start to explore the strange world of Anvard, with its strange cast of characters and the things they'll do to survive. You can have never read a single "Finder" story before and instantly understand what's going on here, which is a nice feat. Then again, when you've got a dress covering bags of contraband tropical fish, you don't need to worry about an overarching plot (although we're seeing one start to form here about Jaeger's place in Anvard society), you can just lean back and watch the mayhem erupt. The art is beautiful and matches the story well; this is, as always, a joy to read.

David Chelsea serves up another "Snow Angel" story here, where we start to learn why our hero's parents don't like her turning into Snow Angel, and more importantly how she's going to deal with a pending move to Tucson where it never snows. It's a short and snappy story, and it was hard to not laugh at Snow Angel's solution to the problem of the pending move. There's a level of whimsy here, not only in a story about a young girl who becomes super-powered by making a snow angel on the ground, but in how she is able to solve her dilemmas and how the rest of the world reacts. Chelsea has done stand-up comedy in the past, and this comic is a reminder that he's a very funny man.

Two new serials debut this month, both with some promise. "Number 13" from Robert Love and David Walker follows some familiar ground in its plot (the young innocent child robot, the monstrous villain that unleashes the other side of said robot) but it's the execution that grabs your attention. The young girl that Number 13 saves has a great character design, and in general Love's art looks excellent; smooth lines, deliberately (and consistently) misshapen bodies, and a wasteland that feels like, well, a wasteland. Chuck Brown and Sanford Greene's "Rotten Apple" likewise has a strong feel to its surroundings, giving you an instant impression on its world. The plot feels like it barely got started (those eight pages whip right by) but hopefully its second chapter will give us more to go on. Still, it's not a bad start.

Of the remaining returning serials, it's Howard Chaykin that managed to win me over with a new chapter of "Marked Man." It's not that I found myself rooting for the titular character (if anything, Chaykin makes sure to keep him from being a hero, here) but rather that I feel like Chaykin has a story to tell about him, now. He might be a jerk but at least he's an interesting jerk, and I'm now on board.

Less successful are Neal Adams and Michael T. Gilbert; Gilbert's "Mr. Monster" is inoffensive but ultimately uninteresting, but Adams' "Blood" continues to tell rather than show, and what it's telling is a bit of a jumbled mess. There's still no hook for "Blood" and it makes me wish that Adams worked with a co-writer to try and turn his ideas into a more coherent and somewhat interesting story. Adams can still draw, but it becomes all the more frustrating that it's tied to a dud of a story. And once again, Richard Corben's art looks great, but there's utterly no hook as a reader to care about anything that happens in it.

Last up is Patrick Alexander's "The Wrath," which is a funny little story about a guy in an awfully familiar looking outfit that is doing less than heroic things to everyone around him. The ending is a bit out of the blue and doesn't really fit with the pages that precede it, but that's the only problem I had with the story. Slice that last page out and it's just page after page of havoc courtesy Alexander's little imp of a character, and I could read that all day.

Overall, I enjoyed this issue of "Dark Horse Presents" a little more than the first, and that's a good sign. It's nice to see Dark Horse has some strong serials being lined up to keep it going as other ones wind down, and that's even before we get things like the upcoming "Beasts of Burden" stories from Evan Dorkin and Jill Thompson, or a "Hellboy" story from Mike Mignola.

With less low points than the first issue, and more strong stories this issue, I'm pleased. Dark Horse's goal was to keep readers around on a permanent basis, and they've achieved just that with me.

More info:

Story by Paul Chadwick, Howard Chaykin, Neal Adams, Carla Speed McNeil, Michael T. Gilbert, Frank Miller, Harlan Ellison, Richard Corben, Randy Stradley, David Chelsea, Patrick Alexander
Art by Paul Chadwick, Howard Chaykin, Neal Adams, Carla Speed McNeil, Michael T. Gilbert, Frank Miller, Leo Dillon, Diane Dillon, Richard Corben, Paul Gulacy, David Chelsea, Patrick Alexander
Colors by Paul Chadwick, Jesus Aburto, Moose, Jenn Manley Lee, Bill Mudro, Michael T. Gilbert, Leo Dillon, Diane Dillon, Michael Bartolo, David Chelsea, Patrick Alexander
Letters by Paul Chadwick, Ken Bruzenak, Neal Adams, Carla Speed McNeil, Michael T. Gilbert, Frank Miller, Clem Robins, Michael Heisler, David Chelsea, Patrick Alexander
Cover by Paul Chadwick
Publisher Dark Horse Comics

[Zacharie]

Title: Witchfinder: Lost and Gone Forever (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review: Witchfinder: Lost and Gone Forever #1

It's fun to wonder which came first: Mike Mignola and John Arcudi wanting to write a western-themed "Witchfinder" mini-series and Dark Horse hired John Severin, or someone at Dark Horse heard that Severin had a hole in his schedule and Mignola and Arcudi quickly said, "We'll write a western-themed story for him!" (I suspect it was the former, but it's an entertaining idea to picture the latter.)

Whatever the reason, Severin drawing a supernaturally themed western comic is almost always good in my book, and "Witchfinder: Lost and Gone Forever" is no exception to that rule. Here, Sir Edward Grey is dropped into 1880s Utah, on a stop-over for the evening when he discovers a mysterious burned down church with arcane symbols. And, being a witchfinder and all, it's not long before he starts investigating.

From the very first page, Severin's art draws you in, from the plains and scrub grass that the carriage is rolling through, to that initial glimpse of the church's burnt-out shell, barely standing upright. There's an astounding amount of detail here -- you could count blades of grass if you wanted to -- and Severin continues deliver an old-world, craggy look to his art that for whatever reason just makes you think of earlier days. The scenes within the saloon are fantastic, with a wide variety of faces and clothing, but all the while still looking firmly rooted in the proper time period. When things start heating up and the shoot-outs begin, I love that Severin expands the layouts to two-page spreads, as if the world itself is opening up and giving us a closer look. Elements as simple as smoke from the old pistols look great, and the accusatory looks on the locals' faces are also dynamite. And when things start getting creepy, like Edward uncovering part of the mystical circle within the church, it's a reminder that Severin is just as good with the otherworldly, too. Severin is a real living legend, and him drawing "Witchfinder: Lost and Gone Forever" should, quite frankly, be a big deal.

The story itself by Mignola and Arcudi is fun, if off to a slightly slow start. There's a good chunk of exposition delivered here, so hopefully now that's out of the way and things will get rolling a bit faster. Still, it's an entertaining opening, and for a supernatural-themed comic, it's fun that the big threats in this first issue involve pistols and fists rather than pentagrams and fiends. And with the new shift in location, it's good that this second "Witchfinder" comic is showing that it's not afraid to be far-reaching in terms of what it can tackle. This isn't a series that's going to be locked into one specific location.

"Witchfinder: Lost and Gone Forever" #1 is a good beginning, but while the script is just fine, it's the art that ultimately knocks it out of the park. So long as Severin's on board, you know that this comic is going to be a winner.

More info:
Story by Mike Mignola, John Arcudi
Art by John Severin
Colors by Dave Stewart
Letters by Clem Robins
Cover by Mike Mignola
Publisher Dark Horse Comics

[Zacharie]

Title: Dollhouse: Epitaphs (Click to go to the release post)
Writer(s): Jed Whedon and Maurissa Tancharoen (Click to see other books from this writer released on this site)
Review source: Nick C (Don't click it, read the review here... )

" f you enjoyed the show, you have no reason not to pick this up."
Review: Dollhouse: Epitaphs #1

* The story begins by giving us a glimpse of the principle characters’ (of both this comic and the series’ two ‘Epitaph’ episodes) lives prior to Los Angeles being attacked with imprinting technology, including the attack itself.
* Amid the chaos of the attack, Ivy uses the phone line to imprint a man (Wendall) with her personality, introducing herself to his nephew Trevor and explaining that “something terrible has happened”.
* The narrative then jumps two weeks into the future, and we see that Griff and Mag and Mr. Jacobson (an obvious Redshirt) are preparing to brave the carnage in the hope of finding fellow survivors.
* As the three make their way through the streets, Zone arrives in a car, taking a ‘shoot first and ask questions later’ approach to anyone he believes has been wiped or imprinted.
* The three flee in Zone’s vehicle, eventually hitting a car carrying Ivy and Trevor.
* Ivy attempts to explain the situation, but Zone shoots her in the head after hearing Trevor refer to her as Wendall.
* Trevor flees the scene, and is later seen at a stadium, where he speaks with a shadow figure about raising an army.
* As the issue closes, the shadowy figure revealed as none other than Alpha.


Likes

* There were some very nice character beats here, particularly concerning Zone and Mag.
* Alpha! Crazy or not, his appearances were always a highlight of the series, something which will hopefully continue to be the case as this story continues in July.
* As expected, Whedon and Tancharoen’s script captured the feel of the show rather well, particularly the trademark chaos and confusion of the ‘Epitaph’ episodes.
* I was also impressed with Cliff Richards’ penciling. His style seems to fit Dollhouse nearly as well as Georges Jeanty’s fits Buffy.

Dislikes

* The ending is a bit abrupt. I really can’t complain too much, since there will be a series of follow up issues starting in July, but given that this is a one-shot (as opposed to ‘Part 1 of X’), I was expecting more of a done in one sort of affair.
* The first nine pages were previously printed in the “exclusive” promotional comic included with the second season DVD set (which, amusingly enough, is advertised on the back cover). It’s really not that big of a deal, but it irked me enough that I felt it was worth mentioning.

Overall

Ultimately, what we have here is a prologue, designed to both pique our interest in the upcoming Dollhouse miniseries and set up the characters on whom the coming stories can be expected to focus. Fortunately, it succeeds on bothcounts. This was particularly important with regards to the characters of Mag, Zone and Griff. While technically established (having appeared in two episodes of the TV series), the degree to which they were developed pales in comparison to the core cast of the show. This is only natural. Again, we’re comparing characters featured in two episodes to the cast of the other twenty-four. And since this issue picks up minutes before the apocalypse, it affords a perfect opportunity to see not only who these people are, but also (as always seems to be the question where Dollhouse is concerned) who they once were. In the end, if you enjoyed the show, you have no reason not to pick this up.

More info:

Story: Jed Whedon & Maurissa Tancharoen
Art: Cliff Richards
Colors: Michelle Madsen

Publisher:

[Zacharie]

Title: Hellboy: Being Human (Click to go to the release post)
Writer(s): Mike Mignola (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... )

Review:

Long-time readers of "Hellboy" (and "B.P.R.D.") will know Roger the homunculus well. Introduced in "Hellboy: Wake the Devil," his transformation from evil artifact to fan-favorite supporting character is a fun story arc, and when he finally came to his demise in the pages of "B.P.R.D." it was a shock to most readers. One of the joys of all of the "Hellboy" one-shots, though, is that they take place in the past, outside of the current storyline. What better place, then, to see the return of Roger?

Well, "return" is perhaps too strong a word. "Hellboy: Being Human" takes place in 2000, when Roger had only recently been taken in by the B.P.R.D. (having restored Liz Sherman), and the agency is still clearly trying to figure out what to do with him. Enter Hellboy, and the next thing we know the two are on a "field trip" to what looks like a simple, low-level paranormal experience. Of course, anyone who reads "Hellboy" will know that nothing seems to go according to plan with Hellboy and company.

It's a sweet little story, with Hellboy trying to serve as a mentor to Roger as the homunculus struggles with the concept of what it means to be human. Mike Mignola ably has Hellboy point out that he's hardly human in his own right, but of course nothing is quite that simple (or so easily resolved). Roger's story, of course, continued in other comics already published so Mignola can't progress it too terribly far. But there's still a small journey that Roger goes on here about trying to understand if he has any humanity. And, of course, undead creatures and corpses and monsters from Hell, too. In many ways it's the action sequences that end up being the more entertaining, perhaps because Mignola can create a definitive story here that begins and ends in the pages of this one-shot. It's the sort of script where you can empathize somewhat with the villain, even as you keep thinking, "Oh, that's not going to end well if you keep doing that." It's nice to have a villain that isn't just mustache-twirling evil, but has a real, human motivation that's tied into a lot of pain and suffering.

Richard Corben continues his excellent streak of "Hellboy" illustrations here. Roger's emotionless face looks perfect in "Hellboy: Being Human," drawing him in a way that emphasizes his manufactured self. The main setting of the one-shot also looks great, from the sunken tombstones in the cemetery to the amount of decay and debris in the house itself. And as for the flashbacks explaining the deaths in the house? Brrr. It may not be excessively gory, but Corben knows how to make it look awfully creepy.

"Hellboy: Being Human" is another winning one-shot from Mignola and Corben, and I'm delighted that they still have more collaborations to come. With comics like these, the wait for "Hellboy: The Fury" doesn't feel that long at all. This is just fun from start to finish.

More info:

Story by Mike Mignola
Art by Richard Corben
Colors by Dave Stewart
Letters by Clem Robins
Cover by Richard Corben, Dave Stewart
Publisher: Dark Horse Comics