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Jun 19th, 2011, 8:31 am
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Title: Executive Assistant Iris V2 (Click to go to the release post)
Writer(s): David Wohl (Click to see other books from this writer released on this site)
Review source: Dustin Cabeal (Don't click it, read the review here... ;) )

Review: EXECUTIVE ASSISTANT IRIS (vol 2) #0
    Who do you go to when your current security isn’t up to par? Say for instance they’re all killed by a sniper in public and you are shot in the shoulder. That’s the initial set up to the second Volume of Executive Assistant Iris which begins Aspen’s cross over event The Hit List Agenda. The volume features Iris and several new characters in her universe.

    This story begins with introducing Diane Coverdale and her life. Diane is described as one of the most powerful women in Los Angeles, California. She takes over her late husband's company. A business once led by his family, the company's Board of Directors assumed she’d simply take the money and leave. They were very wrong.

    IRIS_V2-00a_Francisco.jpgIn the story, drama quickly insues when she attends a public event. A sniper appears and without any warning, shoots Coverdale in her shoulder. He proceeds with killing every one of her security officers. Iris’ employer masterminds the attack. Their intent was to eliminate Coverdale's protection as well as put her at safety risk. Coverdale tracks down the school that trained the sniper, and and bids on a student until she is hers; just like they wanted.

    Executive Assistant Iris is an interesting narrative from Iris, but it’s really here just to tease at what’s to come next. There is no character development, and Coverdale is the only character known to the reader. David Whol succeeds in making a successful zero issue that attracts readers to continue picking up the main series.

    The art was very good. The opening page has a great layout. It features a limosine with it's roof down on a street with the credits . Just something about it is very catchy. The rest of the book is well set up as well, especially when it bounces back and forth from Coverdale and the Assassin. Eduardo Francisco struggles on the female form at times, particularly describing women with similar styles and hair lengths. For example, when Iris was fighting one of the students, readers could be confused, as the victim and another character had very similar features.

    The color expert, Sunny Gho, does an average job. He fills in backgrounds with common color hues. It adds nothing to the book. For example, a black background would have been more interesting to look at rather than his choice of orange-brown smudges. The background coloring is particularly bad when the assassin and Coverdale had common colors. Even though the assassin was in a different room with different lighting, the color was too similar. The room returns to its original coloring, it’s as if he was trying to show that the assassin and Coverdale were now on the same timeline or trying to link the two scenes, but he failed to do so.

    Again this is just a zero issue and the real meat of the story is waiting to be told. I am interested to see Aspen tackle so many of these tie-ins and how the story will play out. Right now I’m interested and that’s exactly how it should be after an introductory issue. The best part is that with this chunk of the story out of the way, we no longer have to worry about some of the boring facts being drawn out in the first issue.

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More info:
    David Wohl – Story
    Eduardo Francisco – Art
    Sunny Gho – Colors

Publisher:
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Jun 19th, 2011, 8:31 am

Post rewarded by Ojay on Jun 20th, 2011, 5:54 am.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 19th, 2011, 2:45 pm
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Title: BATMAN ARKHAM CITY (Click to go to the release post)
Writer(s): Paul Dini (Click to see other books from this writer released on this site)
Review source: Andrew Bistak (Review 1) and Jesse Schedeen (Review 2) (Don't click it, read the review here... ;) )

Review:
BATMAN - ARKHAM CITY #1 (Review 1):
    DC Comics new six-part comic series BATMAN: ARKHAM CITY, takes place after the events of the one of the most acclaimed video games of 2009, BATMAN: ARKHAM ASYLUM. With the sequel to this game to be released later this year, DC have published a limited series to bridge the gap between both games and is the perfect supplement to appease those gamers who simply cannot wait.

    Written by Paul Dini (Batman: the Animated Series) who also wrote both games, this comic takes place a year after the conclusion of the video game which saw the Joker a broken and defeated man, thanks to Batman ending his deadly onslaught within the walls of Arkham Asylum. Unfortunately for Batman, the drug called Titan that turned the Joker into an even more powerful maniacal villain (ala Bane) is now on the streets of Gotham.

    Issue one of the comic nicely sets up the key players to the new video game and how the former warden of Arkham, now newly elected Mayor, Quincy Sharp will turn a portion of Gotham City into a maximum security institution, hence the title Arkham City. I enjoyed the fact that Dini has given the perspectives of the aftermath of the video game through the eyes of various players from the original game such as Harley Quinn and Batman. There's also some great cameos in the comic from Vicky Vale to Jack Ryder (The Creeper) and Two-Face.

    Without spoiling the story too much, it appears that Mayor Quincy Sharp is being used as a puppet for a far superior villain and Dini does a great job at creating this mystery in the first issue. Batman once again shines as the staunch hero as he attempts to solve the leak of Titan onto the streets of Gotham with a clichéd and overtop battle near the end of the issue which was the catalyst to creating a city Asylum. However if you've been falling the news about the video game, you probably already know who the villain will be in the new video game.

    The best part of this comic and the video game is that it feels like a real Batman comic as opposed to those writers who have tried to put their own twist on this classic character. Matched with the impressive art of Carlos D'Anda, BATMAN: ARKHAM CITY #1 is a short yet entertaining read that serves as the perfect precursor to the following issues and the upcoming video game. Even though there may be parallels between the Kurt Russell movie Escape from New York, I'm sure the Batman spin will be far more entertaining, especially once the reader and the player has control of Batman.

BATMAN ARKHAM CITY #2 (Review 2):
    It's far too rare for comic books based on video games to be worth the paper they're printed on. But as Batman: Arkham City is a comic based on a video game based on a comic, it has a leg up over the others. It also benefits from the pen of Paul Dini. Both of these factors allow for one of the better video game adaptations to hit the stands.

    Following the destruction of Gotham City Hall in issue #1, Arkham City #2 sees Mayor Sharp and his cronies breaking ground on the new walled prison that is Arkham City. It's good to see that the series isn't beating around the bush but rather moving right into the material fans want to see. However, Dini could have devoted a bit more script space to exploring the climate of fear and paranoia running through Gotham that makes a place like Arkham City possible in the first place. Characters like Vicki Vale make allusions to Sharp running a police state, but it's another case where showing rather than telling would be preferable. Perhaps Dini covered this material in one of the digital short stories, but even so, that doesn't excuse the main series from ignoring it. On the other hand, Dini is able to showcase the wider citizens of Gotham in these pages and even a little of Bruce Wayne. The Arkham Asylum game felt a bit isolated thanks to its setting, and this series gives hope that the sequel will be able to make greater use of the full Batman stable.

    Luckily, the issue really starts to pick up as Batman continues his investigations into Sharp's secret benefactor. This segment, with its emphasis on stealthy Bat antics, banter between the hero and his nemesis, and a healthy dose of "Detective Mode" is the most successful of Dini's material so far in capturing the specific flavor of the games. Dini's Hugo Strange is a chilling figure, one capable of manipulating even the Dark Knight himself. Though Strange isn't exactly unfamiliar to comic readers, this series is doing a fine job of whetting the appetite and leaving readers hungry for their first real meeting within this universe.

    The third portion of this issue deals with Joker's predicament as he and his fellow inmates begin being transferred over to their new home. Here again Dini's script stumbles a bit, as Harley manages to extricate herself from her cell and mount a rescue effort without much in the way of setup or explanation. This portion of the issue also feels the most pointless. Dini only has so much leeway in what his characters are allowed to do, so the would-be escape attempt simply complicates what should be a simple series of events. Another troubling quality is Dini's handling of Joker. In terms of dialogue, this Joker reads very much like the one from the game, and one can almost picture Mark Hamill reading the lines aloud. The problem comes from Dini's decision to provide Joker with narrative captions as well. It's tricky business digging deep into Joker's head, and writers run the risk of destroying the villain's mystique. Dini's narration fails to accomplish anything the dialogue doesn't on its own, and it would be nice to see the captions disappear in future issues.

    Carlos D'Anda is proving to be a worthy fit for the series. His character designs capture the stylized look of the games well without giving into the needlessly bloated look the characters take on thanks to the Unreal Engine. These pages are colorful and attractively rendered, managing a slightly different visual tone form the rest of the Bat books on the stands. D'Anda's main flaw in issue #1 was a lack of darkness and texture to his work. But with the settings shifting in issue #2 and showcasing Batman in his element more often, D'Anda is allowed to play more with light and shadows.

    There are some pieces to the Arkham City puzzle I wish were more prevalent in these pages, but on the whole Dini and D'Anda are doing a fine job of bringing this version of Gotham to comics.

More info:
    Written by Paul Dini
    Art by Carlos D'Anda

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Jun 19th, 2011, 2:45 pm

Post rewarded by Ojay on Jun 20th, 2011, 5:54 am.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 19th, 2011, 2:46 pm
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Title: BATMAN - HARLEY QUINN (Click to go to the release post)
Writer(s): Paul Dini (Click to see other books from this writer released on this site)
Review source: Hilary Goldstein (Don't click it, read the review here... ;) )

Review:
    Harley Quinn enjoyed a great success and earned a lot of adoration on Batman: The Animated Series. She never, however, appeared in any regular continuity Batman books. As far as the mainstream Bat-books were concerned, she didn't exist. That finally changed in 1999 with Paul Dini and Yvel Guichet's Batman: Harley Quinn, a prestige-format graphic novel that introduced Harley to the DCU.

    An original story, the DCU version of Harley Quinn doesn't differ much from her cartoon counterpart. She is, once again, a psychologist who falls for the Joker and is driven insane. However, as part of the regular Bat-books some of the over-the-top antics need to be smothered in real-world psychology. It's not, however. While the Batman is dark, the Joker insane but not to cartoon proportions, Harley is just as looney as in the animated series. It's a bit too much, too great a contrast to the tone of the DCU Batman books to fit. Harley hovers between farce and serious character and Dini can't seem to fully transition her in this book.

    Taking place just after the cataclysmic earthquakes that have thrown Gotham into chaos, Harley's advances are quickly rebuked by the Joker. Left for dead by her love, Harley seeks the help of Poison Ivy in order to exact her revenge. Ivy not only gives her moral support, she also makes Harley immune to poisons and boosts her strength and reflexes. It's an interesting twist, but seems more of an excuse to make Harley a formidable foe against Batman.

    Batman: Harley Quinn is not nearly as strong as The Batman Adventures: Mad Love and in retrospect is one of the weakest showings in Harley's DCU appearances. The Alex Ross cover is the true highlight, but the story itself isn't worth hunting down.

More info:
    Written by Paul Dini
    Pëncilled by Yvel Guichet
    Inked by Aaron Sowd

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Jun 19th, 2011, 2:46 pm

Post rewarded by Ojay on Jun 20th, 2011, 5:54 am.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 19th, 2011, 10:57 pm
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Title: Caligula (Click to go to the release post)
Writer(s): David Lapham (Click to see other books from this writer released on this site)
Review source: Troy Mayes (Review 1) and Nick Hanover (Review 2) (Don't click it, read the review here... ;) )

Review:
    Review 1 - Caligula #1 - Avatar Press strap on a pair of bloody Roman sandals as they traipse through the rich legacy of the Roman Emperor Caligula.

    In David Lapham’s NSFW story Caligula and his fellow Roman nobles are depraved, vile and sadistic characters. There is no romance here in the depiction of one of history’s greatest civilizations, only sin.

    Issue 1 plays out as a fairly simple revenge book. Told through the eyes of wronged citizen Junius his family is brutally murdered and raped while he's away. He loses everything so he decides to embark on a suicide mission to get revenge against the man who did it, Emperor Caligula.

    While the story structure is nothing new it is the world that David Lapham has created that draws you in. You find yourself turning the page just to see what disgusting thing will greet you next. One problem is I didn't quite find myself sympathising with our young hero, Junius, I was too enamored with Caligula, his cronies and Rome itself to care. Also in some of the write-ups I’ve read the horror background of Lapham was really amped up but I didn’t quite feel that until the last page, which definitely sent some chills down my spine.

    At times the dialogue is odd and laughable, like when Caligula dresses down a whore he has just caught in a bizarre game of sex hide and go seek, and other times it just doesn’t make sense like the laugh of Caligula's crony 'hyah hyah hyah' and at another time ‘nyah nyah.’ I mean what the hell is that?

    The art is strong with the painted pages capturing Rome beautifully and the muted tones act as a highlight for the liberal, dark lashings of blood. The only issue with the art is it concentrates too much on what's happening close up that many people not too far off in the distance are faceless blobs. Still the painted style does a really good job of capturing Rome.

    All in all Caligula #1 is something of a guilty pleasure comic to be read alone so you don't feel bad for enjoying every tormented moment of it. If you liked the HBO series Rome or Starz Spartacus then you'll love Caligula.

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    Review 2 - Caligula #3 - Three issues in and already Junius is losing his humanity in the pages of Caligula. Of course, that development was always inevitable, as each issue of Caligula has shown Junius slipping further and further but last issue's introduction of a demonic talking horse proved to be the final straw, even more so than Junius' discovery that Caligula himself was some kind of immortal. Yes, you read that right, a demonic talking horse.

    As weird as that sounds at first, the introduction of Incitatus isn't without historical grounding. Incitatus was indeed Caligula's horse and thanks to the historian Suetonius, the horse has been held up as a symbol of Caligula's madness for some time, largely due to Suetonius' retelling of an anecdote wherein Caligula intended to promote Incitatus to the level of consul. In modern times, Suetonius has of course been questioned and the story of Incitatus has been said to be an example of Caligula's satirical abilities rather than his madness.

    Lapham takes a different approach, positing Incitatus as possibly the source of Caligula's powers and the true source of evil in the story. While Caligula is doing his best to bankrupt Rome -- removing the wine tax, making the games free and granting the citizens a form of democracy -- Junius is entranced by the horse, incapable of rejecting its demands and becoming a sort of slave for Incitatus. Lapham's version of the Caligula story has in these pages become an exploration of how myth and madness intersect and what happens when such mortal distractions as death become boring.

    Despite Junius brief moments of clarity, which allow him to exact revenge on one of his family's murderers, he is mostly lost in that heady mix of myth and madness, questioning how far gone his mind is and attempting to distract himself with drink and women. It's only when one of Caligula's "stunts" goes horribly wrong that he regains his focus on what must be done.

    Attempting to prove a soothsayer wrong by riding Incitatus across an entire bay through a vast display of engineering and poor financial management, Caligula is put at risk of rebellion at the hands of Laurentius. The grim, horrifying scene that follows displays the full scope of German Nobile's artistic abilities, presenting images that are surrealist and yet perfectly real. It's expertly choreographed and an impeccable rendering of a scene that could have been ridiculous in the wrong hands. And in the chaos of it, only Junius has the sense to realize that Laurentius' assassination attempt is for nought; it will take a combination of Junius' awareness and Laurentius' strategic mastery for any damage to be inflicted on Caligula.

    The scene does raise some issues with the series though, namely that Lapham's efforts are becoming exhausting as the violence and decadence have become grotesquely numbing (which, I suppose, could be construed as an example of form following function), a series of shocks and attempts to one up the previous scenes. After last issue's mostly personal display of madness, the wide scale insanity in this issue seems a little ill-fitting, like Lapham may no longer have control of the story. But there's enough promise left to ensure that if Lapham can pull off this tale of mythological perversion, it will be truly great.

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More info:
    Writer: David Lapham
    Art: German Nobile
    Cover: Jacen Burrows, German Nobile

Publisher:
    Image

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Jun 19th, 2011, 10:57 pm
Jun 20th, 2011, 7:59 am
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Title: Broken Trinity: Pandora’s Box (Click to go to the release post)
Writer(s): Bryan Edward Hill and Rob Levin(Click to see other books from this writer released on this site)
Review source: Vactor (Review 1) and Matt Bremner (Review 1) (Don't click it, read the review here... ;) )

Review:
    Broken Trinity: Pandora’s Box #1 (Review 1):
    Marvel and DC have been getting most of the mainstream buzz over big event storylines like Blackest Night and Siege, but they aren’t the only game in town when it comes to crossover events. Top Cow has debuted several crossovers in recent years that have introduced major changes for their characters, and that trend looks like it will continue in 2010.

    For those who haven’t been following Top Cow closely as of late, the trend began with a mini-series called First Born. That series saw the birth of a daughter to Sara Pezzini and Jackie Estacado, better known as Witchblade and The Darkness, respectively.

    In 2008, First Born was followed up with a mini-series called Broken Trinity. This event established Witchblade, Darkness, and an angelic warrior known as Angelus as the three primary forces in Top Cow’s supernatural universe. Their individual weapons became known as artifacts and by the end of Broken Trinity we found out the three were not alone, and that a total of 13 artifacts existed in the world.

    So that brings us to Broken Trinity: Pandora’s Box. This six-issue series picks up where Broken Trinity left off introducing two new characters — Finn and Gloriana — who each carry one of the previously unknown artifacts. Both characters want to find the artifacts but Gloriana is trying to gather the 13, while Finn is trying to stop anyone who seeks to unite the 13. The two pursue their opposing agendas even as a mysterious cult hopes to rebuild the eponymous device from Greek myth.

    Issue #1 did a fairly good job of opening the story, although I should preface that I generally don’t like first issues because it takes me a while to get truly invested in the story. The mini-series will be co-written by Rob Levin (The Darkness: The Butcher) and Bryan Edward Hill (Broken Trinity: Aftermath), with art by Alessandro Vitti (Secret Warriors). Tommy Lee Edwards (Marvel 1985) will be providing covers for the series.

    2010 will see the pieces fall into place of building towards an even bigger storyline as well. Last year, Top Cow announced at San Diego Comic Con that Broken Trinity writer Ron Marz would be penning a 13-issue mini-series called Artifacts. That series will deal directly with the 13 artifacts hinted at in past stories, and should begin shipping after the conclusion of Broken Trinity: Pandora’s Box.

    I wasn’t blown away by the first issue but it shows potential to become something greater as the series progresses.

    The Geek: Fantastic interior art by Alessandro Vitti and cover by Tommy Lee Edwards.

    The Weak: Suffers from slow start syndrome. Didn’t leave me begging for issue 2.

    Broken Trinity: Pandora’s Box #4 (Review 2)
    Another day, another Top Cow review, another story by Rob Levin and Bryan Edward Hill. I have to say, if my fate is to forever review comics by those two men, then I did something right in either this life or a past one.

    Broken Trinity: Pandora’s Box #4 continues the six-issue limited series at its breakneck pace, leaving your brain spinning and bodies in its wake. At its core, it is a continuation of the rivalry between Glorianna Silver, keeper of The Ember Stone, and Michael “Finn” Finnegan, holder of the Glacier Stone. Linked as eternal enemies by the wills of their stones, they find themselves in an uneasy alliance trying to stop Elias Legion from finding Pandora’s Box and “breaking the world in two”. While all this happens, you finally get to learn about the things that motivate Glori and Finn to do what they do; this sold me on the issue altogether. Finn was haphazardly cast into the role of hero some time ago, but it was never easy to tell what kept on the path he was on; this issue fleshes him out as a character, and for me, it really made the series come together. It wouldn’t surprise me if I looked back on this arc and this was the issue that really sold the whole thing.

    Like almost all of the books in the Artifacts event, this book is big and it’s bloody. Seriously, the first page is three panels that convey destruction and terror about as well as you’re going to see it done. The characters emote very, very well. There’s a scene in a hospital in which Glori shoots Finn a look that you could understand without any words on the panel. This story deals with some really horrible stuff, horrible things done to innocent people, and the pencils and inks do a wonderful, if not gritty, job of capturing just how serious everything is.

    The colouring in this issue really makes a few panels pop off the page. Whenever Glori is turning into her dragon form or Finn is becoming a frost giant, the colours also make you feel warm or cool, respectively. However, the great colouring isn’t just in the over-the-top scene; there’s a panel where Finn lights a cigarette, and it’s perfectly done to show the illumination of the lighter on Finn’s face. The whole Artifacts series has had great colouring that really helps sell the moods of the stories which, and I am glad to see it continue.

    In conclusion, if you’ve already been reading Broken Trinity: Pandora’s Box, then this has to be a no-brainer. However, if you’re thinking of jumping in with this one, it’s pretty deep, and you may want to try to hunt down some of the stuff that precedes it. I highly recommend the Broken Trinity TPB and the first three issues of this series. This is simply a great book about what makes someone a monster, and how sometimes it’s not the dragons or beasts that you have to be the most worried about.

More info:
    Written by Rob Levin and Bryan Edward Hill
    Art by Alessandro Vitti
    Cover Art by Tommy Lee Edwards

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Jun 20th, 2011, 7:59 am

Post rewarded by Ojay on Jun 22nd, 2011, 7:11 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 8:01 am
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Title: 7 Days from Hell (Click to go to the release post)
Writer(s): Bryan Edward Hill and Rob Levin(Click to see other books from this writer released on this site)
Review source: Troy Mayes (Don't click it, read the review here... ;) )

Review:
    "I don't want to kill you. I just don't want to go to Hell." - John Bishop

    Top Cow’s Pilot Season program comes to a close this week before the voting begins with the release of 7 Days From Hell. Should this series claim your vote?

    7 Days From Hell sees the death of John a mercenary. Instead of going to hell, where he rightly belongs, John is ‘saved’ by quite possibly the sexiest demon ever created, Mandy. Mandy makes John an offer he can’t refuse: perform hits for her within a timeframe of seven days in a bid to be saved by god or spend eternity in Hell. John accepts and hence why the story is called 7 Days From Hell because that’s the situation John actually finds himself in.

    The problem I had with 7 Days From Hell was I didn’t feel any suspense in the story. I never felt like John wasn’t going to succeed in his mission even though the issue tries to set it up that John has no margin for error. Sure the way John ends up succeeding was a little unexpected but the fact that he did never was never in doubt. Maybe when it’s a series they’ll be able to build suspense because they won’t be limited to a singular issue.

    I’m also not so sure where the story will go apart from John appearing all over the globe to kill a variety of people in 7 days. Don’t get me wrong that sounds cool and all but I think there needs to be more than that. Maybe it will get a bit more spiritual/supernatural with agents from Heaven and Hell trying to stop John. If they combine those two elements then it could definitely work.

    That being said it is a pretty cool story that could throw up some interesting characters and situations and I’m already questioning whether John deserves or is worthy of redemption as he is a total bad-ass. Even now he is doing evil to do good. I’m also really interested in Mandy and what her deal is apart from wanting to get back in Heaven’s good books.

    The art work was fine. It’s not something that’s going to blow you away but it’s also not going to leave you disappointed it’s just a very efficient, solid style for telling John’s story. It did kind of freak me out though that in a lot of panels John didn’t really have eyes he always looked like he was squinting or had them closed. Also a lot of people get shot but I didn’t really notice any bullet holes. They didn’t have to go super gory but something would have been nice, a bit of authenticity.

    Like every Pilot Season entry 7 Days From Hell has its flaws. The pace of the book was too rushed to create any suspense but overall it seems like an idea that, if handled correctly, could be really cool. It’s a shame only one story can win as I’d be interested in seeing where 7 Days, Asset and Forever all end up.

More info:
    Created by: Bryan Edward Hill & Rob Levin
    Key Artists: Brian Stelfreeze
    Genre: Supernatural/Thriller

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Jun 20th, 2011, 8:01 am

Post rewarded by Ojay on Jun 22nd, 2011, 7:11 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 12:35 pm
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Title: The Art of Hellboy (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: Jonathan (Review 1), Richard A. Tucker (Review 2) and n0s4a2 (Review 3) (Don't click it, read the review here... ;) )

Review:
    Review 1: I would be warry of spending too many of your hard earned dollars on this book. I am a new fan to Hellboy, and absolutely love Mignola's art. However, the reason I would be heasitant about recommending this art book is that there is very little new art in it. Most of it is just rehashed covers, pages and posters. Probably about 10% of it is stuff that you've never seen before; which in my mind, does not warrant the hefty price tag. If you have all the books in the series then you already have 90% of the art found in this book. The sketches and other doodles that are only in this book can most likely be found floating around the net if you look hard enough for it.

    Review 2: Mike Mignola is the master of what not to put in a finished peice of art. While he draws loads of details with the original pencil lines as soon as the ink is applied, he buries them. What makes that technique work so well is that regardless of no evidence of the black flooded pencils the viewer knows the details are there. That masterful ambiguity is what makes the Hellboy art so creepy, menacing. From out of the shadows lurch horrors not meant for the eyes of humans. This is quirky, fun and scary without having to overwork the skilled designs and careful layouts. When I look at all the cartoony comic artists, with their minimalist leanings, and contrast them with the guys who insist on drawing every hair on a head while laying in invented overdone musculature that fairly bulges through a sweatshirt, it is refreshing to see Mignola's seeming ease and inpeccable black spotting that shapes even the things not seen, but definitely suspected, along with shambling ancient horror and explosions of combative violence in the defense of the human race against festering ancient evil.Words? In this book? My brain is full of words unread but ever present. That's Mike's other gift to me.My only question is when will we see a volume collecting his myriad other works?

    Review 3: Mike Mignola's comic books are great. You should buy them instead of this overpriced collection of Mignola art. The very thing that makes Hellboy so beautiful, the simplicity and elegance of design, means that looking at a Mignola sketch is exactly like looking at a finished comic book panel, except you can see the India ink brush marks in the black areas, and there is no supporting narrative thrust to give the picture meaning. The same goes for his pencils (of which there are few included- I don't think this guy makes a mark on paper without inking and publishing it). There is not even a discussion of Mignola's sources or inspirations, no bibliography of the occult (oh, I forgot, we're living in post-literate America). There is no insight to be gained by investing in the Art of Hellboy, because it is just a sampler of beautifully designed panels that look better in the comic books.

More info:
    Creators: Mike Mignola
    Letterer: Pat Brosseau & Clem Robins
    Colorist: Mark Chiarello & Matt Hollingsworth & James Sinclaire & Pam Rambo & Dave Stewart
    Editor: Scott Allie
    Designer: Mike Mignola & Cary Grazzini
    Cover Artist: Mike Mignola
    Genre: Horror, Art Book, Action/Adventure
    Features: Flip Book

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Jun 20th, 2011, 12:35 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:11 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 1:58 pm
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Title: Hellboy: The Bones of Giants (Click to go to the release post)
Writer(s): Christopher Golden (Click to see other books from this writer released on this site)
Review source: Bill Ward (Don't click it, read the review here... ;) )

Review:
    Mjollnir was no longer luring Hellboy in one direction or another, but in some ways it haunted him more than ever. There was a presence inside him, lurking at the back of his mind; it felt like he was waiting in line for something with this rude, extremely impatient entity staring over his shoulder, urging him on. He felt like throttling the big barbaric bastard, but there was no way he could get his hands around the throat of some spiritual echo, especially when the only body it had at the moment was his own.

    Lately, I’ve happily gone a bit mental for Mike Mignola’s Hellboy, and there’s just acres of stuff left for me to discover in this multi-media series that could perhaps be described as ‘Noirish Lovecraftian Pulp Superhero Mythological Adventure.’ Or something like that. The thing is, Hellboy isn’t really like anything else, borrowing heavily from a slew of genres to create an iconic composite that feels somehow completely fresh — a stylishly confident synthesis of everything that is cool in horror and pulp fiction.

    The Hellboy series spans live action and animated movies, comics (of course), video games, books, and probably a few other media I’m not even aware of. With most adaptations of Hellboy you’ve got visuals to work with — Mignola’s distinctive art style is anchor enough to base any one of a number of things off of, whether it be the composition of a film scene or a new design for his familiar characters. The Hellboy tie-in novels have a harder task in my opinion, that of trying to evoke the same themes and tone without aid of the strong visual assets of the franchise.

    Characterization becomes the key, then, to delivering the goods in a satisfying way to Hellboy fans who pick up one of these books, and Christopher Golden has proven excellent in capturing the gruff, blue collar attitude that makes Hellboy such an endearing character. To date I think The Bones of Giants is Golden’s best Hellboy book, one that combines all the familiar ingredients of the Hellboy universe with just the right mix of action, mystery, mythology, and weirdness. Golden’s Hellboy behaves exactly as one would expect, and the tone of his narrative skips between the irreverently humorous and the awesomely strange just as it does in Mignola’s comics.

    The Bones of Giants takes on Norse mythology; when Swedish archaeologists discover the frozen, preserved corpse of an enormous man north of Stockholm, Hellboy and Abe Sapien are dispatched to investigate. The corpse, bigger than any man, clutches an immovable war hammer — and anyone even slightly familiar with their Nordic gods can immediately guess just who our mystery dead person is. Hellboy grabs the hammer to investigate and is struck by lightning — fusing the artifact to the stone of his hand. The hammer, of course, is Mjollnir, and is the source of the visions and voices that soon plague Hellboy, strange memories of an age of gods and monsters. . .

    The plot unfolds swiftly from that point, with Hellboy and Abe encountering all manner of strange mythological beings, from undead Frost Giants and Valkyrie to Svartalves and Nidvallim — decidedly unTolkienesque elves and dwarves. Hellboy must stop a kind of second Ragnarok from destroying the present age and ushering a return to an age of myth and legend, all while dealing with the changes that threaten to overwhelm his sanity. The big red demon himself is being possessed, and from the massive war hammer fused to his hand and the title ‘Thunder Bearer’ his new, mysterious Nidvallim allies bestow upon him, it’s no stretch to guess just who is doing the possessing.

    Golden’s text is further enhanced, in the edition I read, by numerous black and white illustration from Mignola himself. The whole package is a great way to get at the Hellboy experience, and perhaps an ideal introduction to the series for fans of detective or supernatural fiction who don’t necessarily have any interest in graphic novels and comic books. All the Hellboy books I’ve read have been a treat, and with great names in Horror like Tim Lebbon, Tom Piccirilli, and Christopher Golden contributing to the series it should be considered a cut above many of the bland media tie-in projects that line the shelves of today’s bookstores.

More info:
    Writer: Christopher Golden
    Artist: Mike Mignola
    Editor: Scott Alie
    Designer: Cary Grazzini
    Cover Artist: Mike Mignola
    Genre: Horror, Action/Adventure

*Note* - Though not a comics book, a valuable addition to our Hellboy story-line, with wonderful illustrations from Mike Mignola. The reason why this review belongs in this topic, Zach thinks.

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Jun 20th, 2011, 1:58 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:11 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 6:02 pm
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Title: Hellboy - Almost Colossus (Click to go to the release post)
Writer(s): Mike Mignola[/url] (Click to see other books from this writer released on this site)
Review source: Wiki (Don't click it, read the review here... ;) )

Review:
    Almost Colossus picks up eight days after Wake the Devil, and focuses on the homunculus brought to life by Liz.

    Almost Colossus was originally published as a two issue mini-series, from June to July 1997. These issues contain the two part back up story “Autopsy in B-Flat” by Gary Gianni, featuring the MonsterMen. The story was reprinted with three new pages in Hellboy vol. 3 The Chained Coffin and Others, in August 1998.

    The story opens with Elizabeth Sherman in a hospital in Romania. Sidney Leach explains to Dr. Olasz, that Liz apparently lost her powers, by putting them into the homunculus, and that she is slowly dying as a result.

    Meanwhile, Hellboy and Kate Corrigan search for the missing homunculus, with the hope that he will somehow be able to help Liz. The find a cemetery where 67 bodies have been stolen. The locals tell them that three night ago someone took the cross out of the church and carried it up into the mountains.

    The story cuts to the top of the mountain, where the homunculus is praying for an end to his suffering. The homunculus is joined by his older 'brother,' the first homunculus created by their alchemist 'father.' The older homunculus explains their origin, and how he killed their creator and took his secrets. He says he has been working on some sort of project that is approaching completion.

    A local says he has seen lights and smells burning bodies in a nearby abandoned castle. Hellboy and Kate go to investigate. The come across a giant hot metal wall, and the floor collapses out from under them. Small creatures, servants of the older homunculus, grab Kate and attack Hellboy.

    Liz's condition worsens as part two begins. The elder homunculus reveals his plan, to create a giant new body for the two homunculi from metal and the flesh of humans. With this new body, they will be able to rule the world. He decides to use Kate to christen the giant. The younger homunculus attacks his brother using the power taken from Liz, and protects Kate. Just then Hellboy arrives. The elder homunculus enters his new body and becomes a towering colossus. The giant attacks Hellboy, beating him mercilessly. Just then the younger homunculus asks to be able to join in the giant body, so that they both can rule the world. As he enters the giant, he releases Liz's power and burns up the colossus from the inside. The giant and the elder homunculus destroyed, Hellboy names the remaining homunculus Roger and takes him to return his power to Liz. Liz returns to full health, but Roger is left lifeless again. Tom Manning decides to take Roger's body back to the B.P.R.D..

    Almost Colossus takes place in 1997, eight days after Wake the Devil. This story is followed up by “Abe Sapien versus Science” which takes place somewhere between 1997 and 2000 (likely in 1999).

More info:
    Story by Mike Mignola
    Art by Mike Mignola
    Originally Published in Hellboy: Almost Colossus #1-2

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Jun 20th, 2011, 6:02 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:11 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 8:36 pm
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Title: Sherlock Holmes in the Case of the Missing Martian (Click to go to the release post)
Writer(s): Doug Murray (Click to see other books from this writer released on this site)
Review source: Christopher Tate (Don't click it, read the review here... ;) )

Review:
    It's not a new thing to for comic book creators to mix together old books and characters together. And, having Sherlock Holmes in the middle of H. G. Wells' War of the Worlds is nothing new either. A somewhat recent example is Alan Moore's 2002 thru 2004 League of Extraordinary Gentlemen which incorporated elements of both. Also, Manly Wade Wellman wrote a 1975 novel called Sherlock Holmes' War of the Worlds. But, there was an obscure comic book attempt from 1990 called Sherlock Holmes in the Case of the Missing Martian.

    It was a four-issue, black and white comic book published by the now-defunct Eternity Comics. During the 80's and 90's black and white independent comics littered comic book shops across the nation. At the time they were an acquired taste because they were a little more expensive than the Marvel and DC comic books. Plus, the higher price didn't excuse the fact that the small comic companies didn't bother to pay to have their comics printed in color. But, that was a different time and the black and white art now makes these comics truly independent and offbeat.

    I recently found Sherlock Holmes in the Case of the Missing Martian in a back-issue box at my local comic book store. Luckily, all four issues were there. Being a Holmes fan and a comic book fan, I picked them up. I just thought that this would be a tale of what happened to Holmes and Watson during the Martian Invasion. But, I thought wrong.

    The story takes place in 1908, about twenty years after War of the Worlds. In London, a martian exhibit is being prepared in a museum. But, it seems that a martian corpse comes back to life and leaves the exhibit. Sherlock Holmes, who is now a beekeeper, is summoned from retirement with Dr. Watson to solve the case.

    SPOILER ALERT! As it turns out, the martian was really dead and was carted off for study by Professor Moriarty so he can figure out how to use a martian war machine and hold England hostage. Evidently, no one bothered to figure out how to defeat the war machines for twenty years. But, Holmes had an idea that involves his bees. Yeah, that sounds silly, but it makes sense if you read the series.

    The Missing Martian series is an interesting read. I do have a couple of gripes, though. I thought Topper Helmers' art looked a little awkward and stiff at times, but he manages to portray Doug Murray's story without too much trouble. My major gripe is the subplot of Dr. Watson's new wife, Jacqueline, who's a character created specifically for the comic. She's a little off her rocker and likes to snatch away Dr. Watson's surgical scalpels. She then wanders off singing rhymes about Jack the Ripper. Soon, prostitutes wind up dead in London again.

    So, why is there a Jack the Ripper subplot in a Sherlock Holmes/War of the Worlds comic book? I don't know and it seems like Murray and Helmers don't know, either. ANOTHER SPOILER ALERT. As it turns out, Mrs. Watson is a little crazy and didn't kill anybody at all. At the end of the series, after Moriarty is defeated by Holmes' bees, Holmes starts figuring out the Jack the Ripper evidence and, well, that's the end of the story. All I can say is, "Huh?" The story didn't need a Jack the Ripper subplot at all and poor Jacqueline Watson didn't need to be present at all. Maybe the creators were planning on a sequel series that never happened. I hate when storytellers do that. I want to scream at them, "Just focus on the current story! Worry about a sequel later!"

    When I talk about comic book plots, I notice that they tend to sound silly. But, The Missing Martian is an interesting read that handles the Sherlock Holmes/War of the Worlds crossover differently from similar genres. Other than the misplaced Jack the Ripper subplot and the awkward art, Sherlock Holmes in the Case of the Missing Martian is worth digging up from the back issue boxes in your local comic book shop.

More info:
    Writer: Doug Murray
    Artist: Topper Helmers
    Letterer: Pat Brosseau
    Cover: Ian McCaig, Pam Murray

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Jun 20th, 2011, 8:36 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:12 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 8:45 pm
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Title: Athena (Click to go to the release post)
Writer(s): Doug Murray (Click to see other books from this writer released on this site)
Review source: Richard Boom (Don't click it, read the review here... ;) )

" I am looking forward to the next issue based mostly in regards to the lovely visuals... "

Review: Athena #1
    On a grass covered slope, near Athens, a naked woman is sound asleep. She is brought to the hospital and has amnesia. That sounds simple, but when she awakens she is drawn towards the historical Parthenon where she contemplates the ruins, which do not seem to match her memories at all...while walking around the ruins she is attacked by bestial men, but with lightning from her eyes she defends herself, astonished yet unknowing.

    An owl and a nameless and bodiless presence grant her a new identity as Athena Olympios, who ventures to New York to work as a Police Detective. The story picks up years later at the exact moment she goes undercover and gets mixed up with some bad people. The mysterious owl (the mystical attribute to the Goddess Athena) comes to the rescue and Athena the human is transformed into the full-fledged Goddess of Wisdom & Crafts, War & Justice.

    The myth of Athena is effectively told via words by Doug Murray and pencils/colors of French top artist Paul Renaud, whose soft rendering-style makes for eye-popping artwork. Renaud also makes sure that Athena's transcendent awakening, her contemplating as well as the brutal attack on Akropolis, is carried out with luscious details and vibrant colors to ensure eye-candy and apt storytelling.

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    With Athena's move to New York City, artist Fabiano Neves takes over with stunning women and big-chested thugs to finish the story with a smashing cliffhanger!

    In regards to the artwork there is really no reason at all to be squeamish. The story presents an interesting take on one of the most loved mythological beings from Old Greece. Too bad the story reads - at this point - too much like a good-girl/bad-guys story to be more enjoyable. The stage is set up nicely, but somehow the "chica-cop goes Miss Congeniality" routine seems to be lacking intensity and in the case of "undercover cop knows too much and must get whacked" it just is not logical.

    Still, I am looking forward to the next issue based mostly in regards to the lovely visuals though. I would love it if writer Doug Murray would up the story and introduce more mythologies in the form of more deities, not attributes. And the fact that some men see Athena and think aloud "I know you from somewhere" makes me wonder about an extra layer story-wise that will show up during the course of this series of four issues.

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More info:
    Words: Doug Murray
    Art: Paul Renaud & Fabiano Neves
    Colors: Marcelo Maiolo & Paul Renaud

Publisher:
    Image

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Jun 20th, 2011, 8:45 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:12 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 20th, 2011, 10:29 pm
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Title: The Expendables (Click to go to the release post)
Writer(s): Chuck Dixon (Click to see other books from this writer released on this site)
Review source: Steve Sunu (Review 1) and Noel Bartocc (Review 2) (Don't click it, read the review here... ;) )

Review:
    Review 1: This May, Dynamite Entertainment is taking a look at the beginnings of one of this year's most anticipated action movies with the help of writer Chuck Dixon with "The Expendables," a miniseries that explores a period of time before the movie of the same name takes place. Written by Sylvester Stallone and David Callaham and directed by Stallone, the film is loosely based on the many action films from the late '80s and early '90s and stars a number of the biggest action movie stars from that time period, including Dolph Lundgren, Arnold Schwarzenegger, Jet Li, Bruce Willis, Mickey Rourke and Stallone himself. But while the movie is set for a late August 2010 release, fans won't have to wait that long to see some of their favorite movie heroes of old in action.

    "This is a movie that Sylvester Stallone has been trying to get together for years; an action movie packed with as many well-known action stars as possible," said Dixon. "Dolph Lundgren, Jason Statham, Jet Li and like a dozen more. Bruce Willis and Arnold even show up. The premise is a bunch of hard-luck mercenaries who take on high risk jobs for premium pay. They go in where others fear to tread. Each has a specialty; handguns, martial arts, explosives, knives...Sly's not re-inventing the wheel here. He's just built a really bad-ass, killer wheel of awesomeness."

    Spinning this wheel to start is Dixon himself. For the writer, helming the four-color prequel is "Another chance to strut my stuff, and hopefully to a brand new audience that's never given me a try." With a plenty of action story credits, Dixon feels that this project definitely fits his writing style. "I'm known as an action writer. I think it's a bit of typecasting, as I also do humor and can write the soap opera stuff," he told CBR News. "But I do handle the action easily and I'm willing to do the homework on weapons and fighting techniques. My vast experience at running away from danger comes into play, too." As for characters, Dixon feels he knows the stars of the story already. "These guys are definitely in the Frank Castle vein as far as being remorseless tough guys," he said. "It's barely a stretch for me."

    The comic, while drawing upon the elements from the film, will also have a few surprises in store for those looking forward to the movie. "Well, the one thing you'll see in the comic that's not in the movie is Mickey Rourke's character, Tool, in action," Dixon said. "He's alone against some really evil hombres, and we see the reason that Stallone's character turns to him as a mentor. He's a serious bad-ass."

    Dixon's "Expendables" story takes place before Stallone's movie of the same name

    Joining Dixon on the project is artist Esteve Poll. Dixon told CBR News that he has great faith in his collaborator's artistic abilities, especially as relates to the specialized cast, location and audience of "The Expendables." "My artist is Esteve Poll and he's one of my favorites," Dixon said. "We've worked together quite a bit the last couple of years, and he really knows how to create evocative locales. There're few artists who can equal him when it comes to weaponry."

    Dixon's comic book prequel is faithful to the movie, as Dixon has had access to the full story ahead of time to craft his own. "I have read the script," he said. "My job is to tell a story that takes place before the events of the movie without revealing anything that's to come in the movie's story. I sort of hint at some of the conflicts in the group, but this is more of a straight adventure story rather than any kind of character-driven stuff that the movie deals with. That stuff needs to be a surprise, and I'm not interested in providing any spoilers."

    "There's lots of hints in the movie that these guys have been through some really tough, horrifying times together," he added. "It's just cool to see one of their earlier missions."

    While Dixon's previous experience writing team-oriented action titles definitely added to his landing the writing gig on this book, there were still a few aspects that gave him a little bit of trouble. "It's a challenge. It was easier when I did "A-Team" or "G.I. Joe" prequels, because I was familiar with the characters. Here, it's tougher," he said. "I haven't seen the movie, and working out the individual voices for the characters takes more work. But Stallone's screenplay is so tailor-made for each actor that I could 'hear' their voices as I read the screenplay. I mean, Mickey Rourke says stuff that is so Mickey Rourke. Being an actor, Sly has a real ear for how people talk." Another challenge for the writer was exploring territory that has, untils now, been completely uncharted and unknown. "How do you write the part before 'Once upon a time…?' And I have to echo the screenplay in some places, but do it without borrowing from the movie's story. Kind of like making a new garment from the material of another."

    But sewmaster Chuck Dixon obviously has more than a few tricks up his sleeve to make his prequel look like an Oscar red carpet-worthy garment, and moreover, he's excited to do so. "Being part of this crazy project is the most rewarding thing," Dixon exclaimed. "I'm a fan of these kind of movies and a fan of this cast. It's neat, even in a small way, to be a part of an instant classic."

    Review 2: The Expendables #1 - Acting as a prequel comic to this summer’s where are they now action film, The Expendables, this isue by writer Chuck Dixon injects enough personality and machismo into the premise, elevating it above your typical licensed property comic. The premise, of course, is about a group of top-notch mercenaries with less than air-tight morals and their various adventures. They call themselves The Expendables, which I don’t completely understand because it implies that members tend to have a high mortality rate. Regardless, it’s a catchy little moniker, so I dig it.

    The movie stars action icons like Sylvester Stallone, Jason Statham, Jet Li, and Dolph Lundgren, so a majority of the characters have a familiar likeness. The art by Esteve Polls leans in a style similar to that of Georges Jeanty on Buffy Season Eight in the way that he keeps the likenesses familiar, but not distractingly so. You can tell that team leader Barney Ross is Sylvester Stallone, but you accept it and move on as opposed to examining it for accuracy. Polls keeps the eye flowing and is more concerned with the balance of storytelling than the ability to get Jason Statham’s face stubble just right. It’s appreciated and contributes to the readability of the book.

    The story involved in this first issue is that of an introductory level. The main focus is merely that of establishing this group’s ordinary world. We witness a quick mission to introduce the members (all with their own unique handles) to show their dynamic as a team. Immediately after, there’s a bridging sequence with a few leads to illustrate their down time (or lack of) from danger. It’s a slightly abrupt transition, but serves its purpose. This is done, not so much in the narrative, but in the deepening of these personalities, which can have just as much impact as a tight plot. I’d go so far as to argue that when handling the adaptation of another medium’s property, unless you have complete control, your hands are typically tied with the extent of the plot. So, any good writer will presumably work within these confines and explore other areas of focus, like the characters.

    This string in popularity of licensed properties has really thrived on the handling of fictional personalities more so than plot details or toy logos. Last year, one of the best mini-series I read was a G.I. Joe book, not because of my nostalgia for the action figures, but because of the complex characters and real emotion poured into the page. Its been said that any media can be elevated by honest writing and Chuck Dixon gives these archetypes real voices. Of course, this reality’s version of organic voices is heightened due to the extravagant aspects of the plot, but it still oddly rings true.

    This book's main concern is to establish this cadre of soldiers as cool, collected, and highly capable anti-heroes. In doing so, the creative team has put together a fun read that actually does make the reader a little more intrigued by the upcoming movie. Sure, it’s not everyone’s cup of tea, but if this series can capture the unabashed awe and applause that the trailer garnered the last time I visited the cinema, then they can label the endeavor a success.

    There is pleasure in watching a skilled individual do something he or she is good at, like the enjoyment a heist or a well-placed training montage. Things like this are usually able to captivate an audience. That’s a little what this book is -- skilled warriors doing what they’re good at, waging small wars. There’s an inherent entertainment value associated with it that this issue touches upon and which, hopefully, further installments will be able to capture more fully.

More info:
    Words: Chuck Dixon
    Art: Esteve Polls
    Colors: Marc Rueda
    Publisher: Dynamite Entertainment

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Jun 20th, 2011, 10:29 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:12 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 21st, 2011, 5:52 am
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Title: Bone (Click to go to the release post)
Writer(s): Jeff Smith (Click to see other books from this writer released on this site)
Review source: Brandon Sanderson(Review 1) and Andrew D. Arnold (Review 2) (Don't click it, read the review here... ;) )

Review:
    Review 1: I haven't done a review for a while, so I thought I'd do something a little bit different. A week or so back, a friend loaned me the complete BONE graphic novel.

    This is one I've been wanting to read for a while. Not only have I done very little reading in the graphic novel genre, but I've heard a lot of very good things about this one. I remember a friend reading issues from the then-serialized comic back during my freshman year of college. It was something of an underground hit that went mainstream, and all of the issues—some ten years worth, or 1300 pages—were released in a single volume a couple of years back.

    It's a very interesting read. It's something of a cross between an old Loony Tunes cartoon and a serious, epic fantasy novel. It's about a group of three 'Bones' from 'Boneville' who get lost and end up in a kingdom far from home, then get caught up in an epic struggle between good and evil.

    It owes a lot to Lord of the Rings. However, much of the writing is excellent, and there's some fairly decent original worldbuilding. This is fascinating for me, because these are things that I don't immediately associate with comic books. I know that I'm not doing them justice—and I'm sure there are lots of very excellent ones out there. However, I was surprised to read one that felt so much like a traditional epic fantasy, all be it one with three cartoony characters mixed in with the rest of the medieval-style fantasy cast.

    I felt that the story broke down a tad near the ending. There were a couple of points where the plotting seemed forced, and I have quibbles with the resolution of a few climaxes. However, I find I must give a great amount of credit to the author—an independent artist named Jeff Smith. He not only did this virtually on his own, but managed to release something serialized that he could never change, had to plot and pace over ten years time, and had to bring together into one massive story at the end.

    The restraints of the medium considered, he did an excellent job. There's a good mixture of humor, pacing, and action—even if the character arcs of most of the characters are a tad weak. All and all, I can see why this has been named as one of the top ten graphic novels of our time.

    Review 2: It seemed like folly. Twelve years ago Jeff Smith decided to write, draw and self-publish "Bone," an all-ages, black and white humor/adventure series. Not only did he have no experience at producing a regular comic book, the popularity of such titles had long since bottomed out with the end of the Mutant Turtles. In spite of these challenges, "Bone" proved to be so polished and enjoyable the series grew into a beloved, multiple-award winning favorite of kids and adults. Earlier this year, after 55 issues, Smith concluded the epic story. Newly collected into one volume, "Bone" is now a mammoth 1300-page, economically priced ($40; Cartoon Books) graphic novel combining the mythical scope of the "Lord of the Rings" cycle with the visual delights of the early Disney movies.

    Though the title sounds grim it actually refers to the stars of the series, cousins Fone Bone, Smiley Bone and Phoney Bone, who couldn't be less threatening. Like the Hobbits, the Bones are a peculiar-looking, diminutive race. They are pure cartoon — cute and pantsless, with four fingers on each hand and smooth, rounded, sexless bodies. At first their personalities are similarly simple. Fone, the dreamy one, must constantly get out of the scrapes created by Phoney, the avaricious schemer, and Smiley, a goofball comic foil whose tongue hangs out like a friendly dog's. Over the book's course the characters change in subtle ways. Fone goes from the book's main character to being its Hero, just as Smiley's foolishness has an almost saintly quality to it and even Phoney's plots are revealed as more complex than simple greed.

    The book begins with the three of them exiled from their home, Boneville, thanks to one of Phoney's ill-advised ruses. Lost and yearning to return home, they find themselves trapped in a secret valley full of dragons, talking animals and scary rat creatures. Humans live here too, including Thorn, a pretty farm girl whose parents have died, leaving her in the care of her apple-cheeked yet oddly strong Gran'ma Ben. As the Bone's lives become more entwined with Thorn's it becomes clear that she has a secret past that her Gran'ma has been keeping from her. Meanwhile an evil, unseen entity known as the Lord of the Locusts has been gathering armies, including the rat creatures, with plans to take over the world. Smith artfully teases out the tangled relationship between Thorn, the Bones and the Lord of Locusts, eventually ending the book in a long climactic battle where destinies are chosen and lives changed forever.

    Cute little guys yearning for home, lost royalty, evil entities, magical creatures and massive armies battling it out for the future of humanity. Sounds familiar, right? Yes, the central plot seems lifted directly from Tolkein's fantasy masterpiece, but Smith has enough talent and imagination to remake it into something entirely his own. For one thing, it's funny. Nearly every page has some bit of business, like when Fone's hat spontaneously combusts upon catching Thorn preparing for a bath. Smith also puts together clever set pieces, such as the Great Cow Race, where Phoney introduces a "mystery cow" — actually Smiley in a costume — convincing the locals to go for this sucker bet over the favorite: Gran'ma Ben(!). The final race turns into a raucously funny slapstick worthy of a classic Chuck Jones cartoon. "Bone" keeps the comic in comix, without being juvenile, in a smart but universally funny way that has become all too rare in the form.

    Smith achieves this principally through his near-prodigal cartooning talents. As attested by his numerous Harvey and Eisner awards for "Best Cartoonist" and "Best Writer/Artist," Smith draws panels that put more energy into a single line than many comics put into entire books. The action sequences, like the one where two dim-witted rat creatures chase the Bones through a precarious rock face, leave you near breathless with their dynamism. Even simple dialogue sequences stay visually interesting thanks to the expressiveness that Smith, a former animator, puts into his work. This key aspect of Smith's work makes "Bone" much more accessible to kids at a beginning reading level. One can easily see it as a conduit to reading comprehension.

    Combining the instant gratification strong cartooning with the deep engagement of epic storytelling and the universal appeal of humor, Jeff Smith's "Bone" has becomes the best all-ages graphic novel yet published. While older readers will tune into such themes as the folly of blind fanaticism and the corrupting nature of power, the younger set will simply thrill to the adventure and delight at the huge cast of characters. Hardly a folly anymore, "Bone" now deserves to go from hipster cult item to mainstream literary success.

More info:
    Writer: Jeff Smith
    Artist: Jeff Smith

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Jun 21st, 2011, 5:52 am

Post rewarded by Ojay on Jun 22nd, 2011, 7:12 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 21st, 2011, 10:22 am
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Title: Young Justice (Click to go to the release post)
Writer(s): Peter David (Click to see other books from this writer released on this site)
Review source: Lee Stone (Don't click it, read the review here... ;) )

Review: YOUNG JUSTICE #3
    DC Comics has done a mighty fine job of handling comics based on their licensed cartoons and YOUNG JUSTICE is no exception. Viewers of the Cartoon Network show will feel right at home reading the further adventures of the young team of heroes.

    For those that are new to the book and are not familiar with the cartoon, here's the basic premise: Young Justice is a sort of Junior Justice League that gives the sidekicks of DC's bigger heroes something to do when they're not with their mentors. The group borrows a lot from the '60s TEEN TITANS and the previous YOUNG JUSTICE title. It even has a few similarities with the recent TEEN TITANS cartoon, although this outing is decidedly more serious in tone.

    This YOUNG JUSTICE is set on an alternate Earth where Dick Grayson (who dresses and acts a lot like Tim Drake) is still Robin, Wally West (who looks and acts a lot like Impulse) is still Kid Flash and Aqualad is a whole new character. Martian Manhunter has a niece, Miss Martian, and Superboy is a clone of Superman (minus the Lex Luthor DNA). Speedy has just quit being Green Arrow's sidekick, becoming Red Arrow in the process, and the mysterious Artemis has taken his place. There are rumors that Wonder Girl will be joining by the end of the year, but there's no indication of whether it will be the Donna Troy or Cassie Sandsmark version. If conclusions were to be drawn from the other characters it'll probably an amalgam of the two with Donna's name.

    This issue features Robin, Aqualad and Kid Flash getting together and planning to foil an assassination attempt by the League of Shadows. The story reminded me a lot of the two-part series premiere for the show as we see the trio embarking on the mission in much the same way that they investigated Cadmus. That event led them to discovering Superboy and forming their own group. The art by Mike Norton replicates the anime look of the show nicely, but while the feel of the comic stays true to the source material it still hasn't hit its stride. The full team hasn't appeared in action together and we're already on the third issue. The first two was primarily a spotlight on Superboy. Now he and Miss Martian sit this installment out and Artemis hasn't even popped up in the comic series. It's almost like we're not there, yet.

    Part of this could be because Franco and Art Baltazar were tapped to launch the comic to coincide with the premiere of the cartoon. From what I understand, the writers of the show are going to be doing this book staring on #7 and they needed someone to cover them until then. Hopefully, we will get to see the team kick it into high gear when they arrive on the scene. Although they do deliver a fun story, it seems like the current staff is just doing their best to not overstep any of the plans that are lined up and are playing it safe.

More info:
    December, 1998
    Executive Editor: Mike Carlin
    Cover Artists: Todd Nauck
    Writers: Peter David
    Pencilers: Todd Nauck
    Inkers: Lary Stucker
    Colourists: Jason Wright
    Letterers: Ken Lopez
    Editors: Eddie Berganza

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Jun 21st, 2011, 10:22 am

Post rewarded by Ojay on Jun 22nd, 2011, 7:12 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 21st, 2011, 3:02 pm
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Title: 5 Ronin (Click to go to the release post)
Writer(s): Peter Milligan (Click to see other books from this writer released on this site)
Review source: Troy Mayes (Review 1) and Matthew C. (Review 2) (Don't click it, read the review here... ;) )

Review:
    Review 1: 5 Ronin: Wolverine and Hulk Issues - Marvel's 5 Ronin mini-series should, by all accounts, be awesome. Wolverine, The Hulk, Deadpool, The Punisher and Psylocke get the Feudal Japan treatment in this series of one-shots. Unfortunately, after the first two issues it’s hard to stay interested.

    Wolverine is an obvious choice for a Feudal Japan comic. We’ve already seen the character in Japan, learning the way of the Samurai so his inclusion is expected. The problem is the comic didn't really do anything to surprise you. Wolverine is a ronin whose master was killed at Sekighara. He wonders the countryside contemplating whether he should avenge his master when he is attacked by a masked samurai. From then on the story is very vague and confusing and boils down to a typical revenge tale. You’re not sure whether Wolverine is still a mutant or not and there's a lot of back-story that isn't explained. Sure they don't have to bore you to death with exposition, but a little help would be nice. The ending is also open ended, which is a huge cop out when you get to the Hulk and realize it doesn't continue on. There’s hope that it may pick up in a later issue, but as it stands it was a confusing and disappointing end.

    The Hulk, meanwhile, is not something associated with Japanese culture and going in I was highly optimistic for something new and exciting. While the set-up for the Hulk is good, a troubled warrior monk who becomes a 'monster' on the battlefield, the story is pretty much the Seven Samurai minus six. A local village seeks the help of the Hulk because they are being assaulted by bandits.

    What saves the story is the Hulk’s monstrous persona and how that affects the battle. The warriors in the Seven Samurai are rogues, but by the end of the story their honor is restored. The Hulk version takes a slightly different, darker path that makes it more enjoyable to read but in no way does it really relate to the Wolverine tale of the week before and your left wondering what’s the point of this mini-series? Is it just to pump the reader full of samurai movie stereotypes?

    With both issues there’s also this odd feeling because you know the characters but you don’t really get a chance to know them in the context of this new story and setting. Everything happens very quickly and any supporting characters are also quickly forgotten.

    What holds together the mini-series is the artwork. Different artists tackle the two issues but the end result is still two high quality issues. The action is fierce and bloody, the character designs authentic and highly detailed, environmental effects like fire and rain seem natural and backgrounds fully takeover the art helping the reader engross them in the art. The coloring is reminiscent of the art of the time, although the Wolverine issue has a much darker palette and the rough yet controlled pencil lines in Wolverine suit the action well as its violent and explosive yet there’s a grace and control to it. About the only downside to the art comes from the confusing story of Wolverine where three characters look the same and the action in the Hulk doesn’t quite flow as well as you’d hope.

    Overall it’s a shame that the first two issues haven't lived up to their potential. It really feels like each character actually could have done with a 3 issue arc to fully tell their tale but Marvel didn't want to invest that much yet and are just testing the water. I feel like I should let this series go, but with a new issue next week and a new character the slate is wiped clean and hopefully it will be third times a charm. Besides who doesn’t want to see Deadpool back in the day?

    Review 2: I like to think that most of the people who know me, know that I’m a sucker for samurai stories and comic book covers. I love that samurai stories can tell stories that we in western culture really can’t. In eastern stories you can have a romantic hyper-masculine story with believable characters that can have a focus on blood, gore, and beautiful scenery. In western culture, we see masculinity as an absence of the feminine and romantic stories are considered feminine. With that said, I can watch a samurai cut down a group of men in a way that would make John McClane shudder. Calm, cool, and in total control of the situation; never a doubt or an inkling of fear in his mind as he meets possible destruction. The samurai also tend to have an introspective depth to them as Bushido requires reflection of death and a level of personal control which our heroes wish they had. In western culture, that kind of depth is practically unprecedented. Quite possibly the most realistic action hero we have had is John Rambo. (You can’t tell me that final scene in Rambo First Blood doesn’t jar you.) It should be noted that I enjoy our action movies as well; I just wanted to show the subtle distinctions that many people may not be aware of.

    I was browsing the comics at my local comic shop and saw 5 Ronin on the shelf. I ignored it at first due to the fact that I thought it was simply a Wolverine story. If nothing else, I would have collected five beautiful covers. Largely Wolverine has been driven into the ground, but Wolverine typically has great, if not amazing, one-shots that typically demonstrate why he is an interesting character. However, his Japanese stories tend to ignore Japanese culture. That is, they usually westernize the culture in some way and drop in Wolverine like Tom Cruise in the Last Samurai, but without all of the culture shock. This isn’t necessarily a horrible thing, but it usually means that it’s just going to be a romantic tale, him fighting Silver Samurai, or him just cutting a bunch of dudes up in silhouette. Though to be fair, the last one that I can remember involved Wolverine being in Hiroshima when the atomic bomb was dropped.

    It was the covers that ultimately made me want to give 5 Ronin a shot. I found a collection of the whole five part mini-series for $10 and thought I’d give it a read. What I found in the books was actually quite amazing. Admittedly I was a little confused about what was going on when I started reading the book. Within the first several pages you witness Wolverine getting his head and hands cut off by a man in traditional samurai armor. The next page says two weeks later and there Wolverine is again. As the first book unfolds you come to realize that this is not the character with all of his abilities being dropped into an era of Japanese history. This is a five part mini-series based around five characters with a similar goal and those characters happen to be reminiscent of five marvel characters. Just to make it clear, none of the characters in this book have super powers, but they do have character traits or backgrounds that create the illusion of these super powers. It’s really hard to talk about their abilities without spoiling too much of the plot. Just know that Wolverine and DeadPool aren’t what they seem, Hulk has anger problems, Punisher is largely the same, and Psylocke is pretty smart.

    5 Ronin was written by Peter Milligan (X-Statix, Hellblaiser, X-Men, and the upcoming Red Lantern Corps.) and each issue is drawn by a different artist, but each keeps the same visual aesthetic. Each issue looks great and visually appropriate for the story and the culture. The five characters in the mini-series are Wolverine, Hulk, The Punisher, Psylocke, and DeadPool. The story is progressed in each chapter in a similar manner to the movie Crash. Each character is making their way to the same point, each with different motivation; though all but one agrees that the Daimyo should die by their hand.

    This is quite possibly one of the best mini-series I have read from Marvel in a long time. It certainly helps that I love samurai, but I honestly think anyone who reads this will enjoy it. It is reminiscent of the 1602 universe in the way characters share similarities with their 616 selves, but are actually people with behavior, abilities, and even thoughts from that era. I loved it and it’s worth having in your collection. I hope they do another series or translate this into a retelling of 7 Samurai. You’ll understand what I mean when you pick this up.

More info:
    Writer: Peter Milligan
    Artist: Tomm Coker, Dalibor Talajic, Laurence Campbell, Goran Parlov and Leandro Fernandez
    Editor: Sebastian Girner

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Jun 21st, 2011, 3:02 pm

Post rewarded by Ojay on Jun 22nd, 2011, 7:17 pm.
+ 5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks