Title: The Occultist (Click to go to the release post)
Writer(s): Tim Seeley (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: The Occultist #1

“The Occultist” is a one-shot from Dark Horse, even though it ends on a very big ‘to be continued’ moment. It appears that if this issue is successful, there is a great opportunity for more tales to be told for this character by this creative team. But for now, we get a tease and a complete origin. I can only hope plenty of people get on board, because this issue is a lot of fun. It feels like a Top Cow Pilot Season book, only better. Seeley writes this in his wheelhouse so as to contain devilish action and humorous dialogue.

Rob Bailey is a quiet college student. He’s the sort of everyman Stan Lee would spend nights dreaming up. He keeps to himself, works in an old book store for little money, is far too nice, has a domineering religious mother, and has just been dumped by his girlfriend of a few years. Life was never great, but it was liveable; Now, even that’s debatable. The charm of this comic is that it doesn’t force these plot points down your throat, it’s subtle in moments, the dialogue real in others. You instantly know Rob and feel for him.

The kicker for this title is when Rob ends up at work with a book talking to him. The idea of a book throughout history that chooses warriors to champion for it is a cool concept, though why it would choose Rob is not exactly certain. It’s probably an opportunity born of proximity rather than well thought out factors. The book is being hunted and its capture is imminent. The idea that this book has plenty of unexplored history is a concept that, much like in “The Immortal Iron Fist,” can be mined for untold one-shots and arcs later on.

The imminent threat to Rob, and his new Occultist power, is interesting, but what is more intriguing is that a tattooed Grant Morrison appears to be in charge of Rob’s future problems. Aiden Beck is a motivational speaker by day and a villain ready to track down the Occultist in his spare time. He’s also completely bald and quite mystical. Coincidence? Probably not. He’s one of those Machiavellian villains that every hero should face, a Dr. Claw or Kingpin type that will send waves of terror in his name but never be able to be defeated directly.

Victor Drujiniu and Jason Gorder do a solid job of making the action flow throughout the story. The best parts are where they delve into the mystic with a different style that makes it look like we are reading this ancient tome. To handle such juxtaposing art styles so deftly is a delight. Andrew Dalhouse does a good job at matching what is on display and he definitely makes the stranger elements pop off the page.

“The Occultist” is a comic you should be checking out. Seeley described it as a ‘first-year Doctor Strange’ and that alone is something I want to read. The fact that this character has already been fleshed out in one issue and the set up given is a brilliant display of being economical and still having quality. The final page offers a brilliant set up for many future tales as Beck has assembled a room full of ‘hit mages’ to track down the book and its new owner. If you want more of a magically fun and yet grounded character tale then put your money in to support this.

More info:

Story by Tim Seeley
Art by Victor Drujiniu, Jason Gorder
Colors by Andrew Dalhouse
Letters by Nate Piekos
Cover by Steve Morris
Publisher Dark Horse Comics

 

Title: Batman: Year One (Click to go to the release post)
Writer(s): Frank Miller (Click to see other books from this writer released on this site)
Review source: Andy (Don't click it, read the review here... )

Review:

Batman’s origins are no mystery: seeing his parents murdered by a petty thief; inheriting a fortune and a mansion; and hiding his nocturnal vigilantism behind the mask of a billionaire playboy. This much is pretty much cast in stone. What we have here is the Frank Miller rendition of Bruce Wayne’s transformation into the Dark Knight, adding a little more grit to what might otherwise be considered an old story.

In fact, in this book, Miller provides us with no fewer than three origins. The most interesting is that of Commissioner Gordon, who starts off as a successful young detective moving into Gotham City but is soon embroiled in its dark underworld. His relationship with the Batman/Bruce Wayne character is brought into the spotlight, in terms of how a solid lawman can come to justify a relationship with a violent vigilante fighting a personal war on crime.

The third origin belongs to Catwoman, previously a prostitute, portrayed by Miller as the antithesis of Batman’s wealthy do-gooder, but who is still inspired by his reported antics to don a costume and prowl the small hours. She adds little to the story though, and most of the other female parts fare just as badly, from the two-dimensional women in Gordon’s life to Batman’s distinct lack of sexual interest.

Mazzuchelli’s line and shade artwork looks like it could easily work in a Sin City style black and white, though Lewis’s subtle colouring adds to the noir effect. As a team they create something that doesn’t leave you wishing Miller had picked up the drawing himself.

Despite the fact that Miller is fiddling with something that is sacred for many Batman fans, nothing is taken too seriously. This is a retelling of the Batman myth, keeping the main crux so the concept remains intact, while bringing the story up to date for a modern audience. It’s no Dark Knight Returns but this still ranks amongst the best Batman stories around, and should certainly be in the collection of any fan of the Caped Crusader.

More info:

Written by: Frank Miller
Art by: David Mazzucchelli, Richmond Lewis
Publisher: DC Comics (US), Titan Books (UK)
First published: 1988
Originally published as: Batman: Year One 1-4

Title: Black Summer (Click to go to the release post)
Writer(s): Warren Ellis (Click to see other books from this writer released on this site)
Review source: John (Don't click it, read the review here... )

Review:

Today is November 5th (Happy Guy Fawkes’ Day!), and America is abuzz with political news and discussion in the wake of the most heated race for the White House in recent memory. Many of us will be happy to take a break from the constant barrage of political news pumped out by the 24-hour news networks, but since we’ve got the White House on our minds, why not check out Warren Ellis’s Black Summer, a shock-and-awe-inspiring cautionary tale of what happens when superheroes and politicians can’t see eye to eye. If the cover image doesn’t grab your attention, I’m not sure anything will.

And the image on the cover is only where the story begins! Here’s a brief synopsis for you:

In the bad old days, a group of scientifically and ideologically motivated young upstarts created spectacularly powerful new hybrid bio/weapon technology and used it to give themselves incredible super-powers. They called themselves the Seven Guns, and they became America’s most powerful protectors from enemies both foreign and domestic. Now the Seven Guns have disbanded and are burning out or fading away, with one notable exception: John Horus, the most morally unshakable of the Guns, takes his war on corruption and exploitation to its undeniable source – the President of the United States of America. He murders everyone in the Oval Office (see cover) and declares that America will have free elections (with properly counted paper ballots) to determine a leader worthy of the position. The Pentagon gives the Guns’ former mentor (now a Black-Ops commander) license to kill Horus and his old comrades (most of whom did not support Horus’s actions, and none of whom were accomplices) but they’re the most powerful beings on the planet, and they’re not going down without a fight. To quote the trade paperback’s back cover, “Black Summer is about where you draw the line.”

Black Summer is a return to Warren Ellis’s characteristic blend of deeply important social issues and wide-screen spectacular action (see: The Authority), with just the slightest hint of pitch-black humor thrown in for good measure. His ambitions were lofty, considering the original purpose of the comic was to win a bet with his Publisher at Avatar Press. He was given a daunting challenge: Write a book that mirrors the grandiose “Event” stories being published by the big-name comic book companies without relying on the crossover of familiar characters to sell books (since Avatar doesn’t have a stable of recognizeable superheroes to draw from.) Eventually, he hit the mother of all story hooks: What if a superhero killed the president? Along with that came the theme of the story, “Where do you draw the line?” The details of Black Summer followed soon after, from the creation of the characters to the establishment of how their super-powers could be expalined in real world terms. The theme is explored in great detail throughout the book, ranging at times from tugging subtly at the back of your mind to smacking you full-force in the face, according to the story’s progression. I’ve always had a soft spot in my heart for stories that deal with superheroes’ ability (or lack thereof) to affect major change in the world, and Black Summer scratches that itch wonderfully. At times you’ll find yourself rooting for the good guys, then the bad guys, then you’ll begin to wonder just who’s really good and/or bad after all.

The art in Black Summer is nothing short of astonishing. I’ll admit that my only prior exposure to Juan Jose Ryp was in “No Hero” (his latest collaboration with Ellis, currently on issue #2) but I was completely blown away with the level of detail in his drawings. The cover image above is a great example, but you don’t get the full effect until you see that every page has that much detail and is that expressive. The action sequences absolutely explode off the page, and I’m kicking myself for not buying the hardcover edition. Reading the paperback version is like watching Iron Man in Blu-Ray on a Standard-Definition TV: It looks great, but you know you’re not getting the full effect. Flip through it at your local comic shop and see if you don’t immediately agree.

As far as dialogue is concerned, this is unmistakably an Ellis comic. His political rants that made Spider Jerusalem such a joy in Transmetropolitan keep sneaking their way into Black Summer, like this one:

“Article One, Section 8: Congress shall have power to provide for calling forth the militia to execute the laws of the union, suppress insurrections and repel invasions. The Second Amendment: A well regulated militia, being necessary to the security of a free state, the right of the people to keep and bear arms, shall not be infringed. When non-governmental organizations like private security firms are being put on the streets of my otown – where’s Congress? Nowhere to be f!@#ing seen. Companies like Blackwater routinely put Chileans and Bosnians on the streets, armed, to enforce not laws enumerated by elected representatives, but the terms of no-bid contracts handed them by a government that’s given up on ruling … I want the rule of law back. I want my constitutional rights. Give me a gun and i’ll make the bastards execute the laws of the Union.”

That’s just one sample of the heavier political stuff in the book. For those who find it a bit wordy, don’t fret. It’s counter-balanced by lots of pretty explosions. Sure, there are times when you could argue that Ellis shamelessly steals the characters’ voices and uses them as mouthpieces for his own political views (in particular, a rather scathing indictment of both Iraq Wars) but it’s framed nicely and it’s interesting to read, and if you’ve read any of Warren Ellis’s other landmark series (Transmetropolitan, Planetary, The Authority, etc.) it won’t seem out of place.

Time to wrap this up: Black Summer is a big-budget action spectacular with plenty of ultra-violence in beautifully depicted detail, but also with a strong sense of social conscience and self-awareness. It succeeds in its mission, which is to make the reader question exactly how far heroes should go in order to protect ordinary people from the tyranny of evil men.

More info:

Writer: Warren Ellis
Art: Juan Jose Ryp
Colorist: Mark Sweeney
Editor: William A. Christensen

Title: Hellboy: In the Chapel of Moloch (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:

First off, I feel the need to point out that when it comes to finding artists other than Mike Mignola to draw "Hellboy," he and editor Scott Allie have done a fantastic job. Duncan Fegredo's art in "Hellboy: Darkness Calling " is beautiful and eerie, and Richard Corben's unique style worked perfectly in "Hellboy: Makoma " and "Hellboy: The Crooked Man ." That said? I am tickled pink that Mignola was able to find time in his schedule to draw "Hellboy: In the Chapel of Moloch" and I bet I'm not the only fan who feels this way.

There's something about Mignola's rugged, blocky art style that just fits the kind of stories you find in "Hellboy." I think that's in part because of its versatility; from the opening half-page panel of Hellboy looking over the rooftops of Tavira and being able to appreciate how beautiful Mignola has drawn a Portuguese town, to being able to evoke fear and creepiness in a tiny panel of a single candle lighting itself with an eerie green flame. Mignola has, with each panel and page, an exact idea of what he wants to make the reader feel. It's very much to his credit that it's able to come across on the page so effortlessly.

Part of that praise certainly goes to Mignola's working relationship with colorist Dave Stewart, whose choice of colors adds well to the mood. From the pale green of the candles bursting into flame, to the deep red of the blood seeping out of the statue against its gray clay background, Stewart always seems to know just how to make a color pop out at the reader while never coming across as garish or unsightly. It's easy to see why Stewart has colored so many "Hellboy" comics over the years; he and Mignola work together so well that he's become an integral part of any Mignola art these days.

As for the story itself, it's slight but fun, and just what you'd expect from a "Hellboy" story. The sound effect "boom!" is used a lot, Hellboy gets to punch and shoot demons, and inevitably things go horrifically wrong for Hellboy before they even begin to get better. Mignola's shorter pieces like this often lack the same emotional core and punch that his long-form stories hold, but they're still enjoyable and the sort of story that will just pop a grin onto the reader's face. And, for what's a small story, Mignola is able to still slip in some nice character bits; I really appreciated the artist Jerry's reactions to the rise and fall of Moloch's minions, coming across less stereotypical and more about the fear of an artist who fears stagnation.

"Hellboy: In the Chapel of Moloch" is a fun little trip into the world of "Hellboy." If you've never read any of Mignola's comics before now, it's a great way to give it a try. (Especially with the new Mignola and Fegredo eight-part epic, "Hellboy: The Wild Hunt," hitting stores in December.) If you're already a "Hellboy" fan? Well, you're in for another treat. But I bet you already knew that, didn't you?

More info:

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

Title: Grimm Fairy Tales Pinocchio Collection (Click to go to the release post)
Writer(s): Ralph Tedesco and David Seidman(Click to see other books from this writer released on this site)
Review source: Stephanie Carmichael (Don't click it, read the review here... )

Review:

With our recent Silent Hill anniversary feature, you’d think we had enough doom and gloom around the OneMetal scene. Logically, yes—we’re still trying to overcome our quivering dependence on the family pack of night lights we just bought (or was that just me?), but Zenescope’s collected edition of Grimm Fairy Tales: Pinocchio landed on our doorstep unexpectedly. I’ll give you a head start on running now. And you thought the Saw movie puppet was bad.

From the innovative minds and hands of David Seidman, Ralph Tedesco, and Dave Hoover crawls a gnarled twist on the well-known Pinocchio marionette story. In common Zenescope fashion, the comic parallels the lives of Mark and his son, Jacob, with the lonely artisan Gepetto and his enchanted craft, Pinocchio. Of course, amass every warm and fuzzy charm of your favorite Pinocchio myth and kiss them goodbye, because Seidman and Tedesco literally carve their re-visioning from a dark and evil wood. Between the devilish conscience of a small cricket whispering menacing notions in Pinocchio’s ear to the circus handlers and real boys who fan the flames of kindled hatred, with each step the anthropomorphic puppet develops a heartless taste for blood. His quest to find the secret of becoming a real boy leads Pinocchio down a startling path wrought with dangerous lies.

But the writing pen falls in equal measure to the phenomenal and truly disheartening artwork of the Pinocchio sequences—illustrated by Seidman. Indeed, the plot would fail to engage the reader if not for the drastic visuals, which completely justify opening the book. If The Secret Island of Dr. Quandary (a PC game from my elementary school days) were transformed into a mature and freakish production, then David Seidman would be at the top of the design credits list. (A weird compliment, I know, but a compliment no less.) Blending photo-realistic characters smeared with moody colors and dulled modern finishes, the result spins the onlooker into a world of black magic, fantasia, and impossibilities only attainable within the fairy tale realm.

The regular style of the Jacob panels, however, unhinge the rich momentum of Seidman’s talent, and the ending screeches to a confusing and unsatisfying halt. Nonetheless, the greatest return accompanies the gradual, connecting build between Pinocchio and Jacob, giving the comic an even more chilling edge. What once began as a heartfelt tale becomes disfigured, corrupting the innocent, childlike icon with demonic energy. Against your better judgment, you’ll be itching to turn the page and uncover the truth behind the famous character’s origins. Just remember to sleep with the lights on for awhile.

Bottom Line: The two visual effects designed by Seidman and Hoover might not complement each other quality-wise, and the shocking conclusion will probably leave you hoping for more, but the overall experience trumps the comic's downfalls. Zenescope presents a mesmerizing show in their own ghastly puppet theater.

More info:

Writer: Ralph Tedesco & David Seidman
Artist: David Seidman & Dave Hoover
Publisher: Zenescope Entertainment Comics

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

Review: John Byrne’s Next Men #1

There have been numberous “boom” period in comic book publishing, notably the original comics explosion of the early 40′s, the 1966 post-Batman-television series expansion, the Black & White boom of the 80′s… The most recent boom came in the early 1990′s, as many creators began to realize the power of their own personal branding. John Byrne was practically an elder statesman of comics in ’92, due to his work on X-Men, Fantastic Four, his high-profile revamp of Superman and, honestly, work on nearly every other character in existence. When I was a kid, his covers conned me into buying dozens of comics drawn by lesser lights, so when the announcement came that John was launching his own creator-owned title, I was sold. Fifteen years or so later, the Next Men are back, and many Faithful Spoilerites have no freakin’ idea who they are. Time to remedy that situation…

Previously, on John Byrne’s Next Men: Years ago, a mysterious explosion in Antarctica deposited a misshapen monster from another era into our world. The monster, known as Sathanas, curried influence with all the right people, including corrupt Senator Aldus Hilltop, with whom he created a secret government experiment to grown superhuman soldiers. While the soldiers bodies grew in tanks in a laboratory, their minds were educated in a virtual-reality containment world, where they were taught what their masters believed they needed to know to be forged into the perfect human weapons. Five of these poor experiments escaped into the real world, but found that their education didn’t prepare them for what lay outside Project Next Men. On the run from those who would use them as pawns, Jasmine, Jack, Nathan, Bethany and Danny searched for some sort of meaning in a world where nothing and no one can be trusted. Hilltop becomes President of the United States, while the Next Men remained outcast from everyone, even moreso when it was discovered that anyone they had sex with would gain their own superhuman powers. But that, as they say, was then… What’s going on NOW?

This issue begans where we came in, as the five members of Project Next Men are awakened from their slumber by technicians under the command of Aldus Hilltop, each still shaky from the effects of their extended coma-like states. John Byrne’s art is very good throughout this sequence, using a thinner line than some of his recent work (I’m thinking of “Lab Rats” from DC a few years ago, where the lines were very thick, as it done with a sharpie marker) and with a great range of physical expressions. As the characters talk about their experience, Jasmine (the acrobatic Next Man) loses her cool, kicks Hilltop in the face and tries to escape. It becomes clear that she is the only one who remembers his turn as Sathanas and all the experiences of their previous comic book appearances. This particular fakeout is familiar to me, having appeared in the Dark Horse version of the book to set up a giant swerve, but it is an effective way to get where we need to go, as it leads to the characters “debriefing” their hallucinations while in the project, a nicely handled way to get the exposition out of the way. It’s a very nicely handled sequence…

Jasmine’s hallucinations get weirder, as she sees (or thinks she sees) futuristic flying cars, Jack with his super-powers back, and Tony Murtchison (the super spy-type who helped them escape back in the first series) trapped in a wheelchair ala Stephen Hawking. Jazz’s explanations of what she saw in her dream goes over all the high points of the original series, ending with Jasmine being confronted by a mysterious man in jet-black armor and taking his hand (the cliffhanger of JBNM #30 back in ’94.) Jasmine is transported back in time, and explains how she lived in a cave with Nathan and Danny until Danny was eaten by a fuzzy T-Rex. It gets weird, and she wakes up AGAIN, this time lying in an actual cave in the distant past, alone with Nathan. Poor Jazz doesn’t get it easy, does she? There is discussion between them implying that they’re losing their powers, then we cut to a strange coda with Jack 40 years in the future finding the grave of an old friend… A grave that dates to nearly a century before they were born! It’s a mystery, and the teaser for next issue strongly implies that this isn’t the only paradox in play.

As with many books that I review, I find myself wondering how my subjective viewpoint really changes my expectations of a comic. I honestly didn’t recall the details of the last issue of JBNM Vol.1, but was very impressed with how well the necessary history lesson went this issue. I even enjoyed the lampshade-hanging with regards to this issue’s “waking up from a dream OR IS IT???” plot is going to be familiar to fans. Knowing who each of the main characters is, knowing that Aldus Hilltop was villainous, knowing the way the Jasmine character has previousl been written, I enjoyed this issue greatly. Mr. Byrne’s art is top-notch throughout, with subtle but noticable distinctions between young illusory Jasmine and trapped-in-the-past slightly older Jasmine as well as an elderly version of Jack. I suspect that a first-time reader might be confused by the fugues and hallucinations, but the bones of the plot are clearly defined, and there’s nothing particularly off-putting or wrong that would throw the first-time reader. As first issues go, this one clearly knows all the pitfalls and works to avoid them, which is a wonder in itself. John Byrne’s Next Men #1 marks a return to form for some old friends, but won’t be alienating to someone who is meeting them for the first time, earning a very strong 4 out of 5 stars overall. And no matter the book or company, it’s good to see Byrne going all out…

More info:

Written by John Byrne
Art by John Byrne
Colors by Ronda Pattinson
Letters by John Byrne
Published by IDW Publishing

Title: Batman Gates Of Gotham (Click to go to the release post)
Writer(s): Scott Snyder and Kyle Higgins (Click to see other books from this writer released on this site)
Review source: Joey Esposito (Don't click it, read the review here... )

Review: Batman: Gates of Gotham #1

One of the greatest contributions Grant Morrison made to the Batman mythos was developing a pronounced history for Gotham City. From its architecture to its citizens, Morrison presented the idea that the city was much, much more than bricks and mortar. In Gates of Gotham, Scott Snyder and Kyle Higgins carry on that idea nobly, offering up a Batman story that takes a new angle on a familiar setup.

While the structure is fairly typical – Batman's on a case that requires interrogation of some famous rogues – the idea that fuels the fire is something new. The aforementioned case involves the destruction of some of Gotham's famous structures that can be traced back to some of the most notable families in Gotham's history. Issue #1 lays the foundation for a historical connection between the Waynes, Elliotts, and Cobblepotts before Bruce Wayne – or even his parents – were even around. Though issue #1 only briefly touches on these connections, the series itself presents a fascinating scenario where Gotham City can ultimately live to be something of a character in and of itself; manipulating its residents to tear their own lives apart.

Something I didn't expect from this issue was a collective Bat-family appearance, and a different cast appears than you might expect. All making appearances are Dick, Tim, Damian, and Cassandra, providing a nice bit of interaction that we strangely don't get to see too often. Though issue #1 only touches on it briefly, the dichotomy between Cassandra and Damian could be a fascinating one to behold. Dick's Batman feels a little more hard edged than we're typically used to seeing. Whether that's Bruce's return rubbing off on him or just a misstep in characterization, it's initially only clear by Dick's costume (and later Gordon's reference to it) who is behind the cowl. Still, that's a small nitpick out of an issue that was otherwise stellar.

Trevor McCarthy's artwork is suitable, mixing pieces of Tim Sale and Dustin Nguyen to portray a crisp, if somewhat exaggerated, Gotham City. The character work conflicts with the realism of the story, but in a way that molds Gates of Gotham #1 into something vastly different from the other Bat-books on the shelves. And if you've been looking for the creepiest Penguin in years, McCarthy's your man. Along for the ride is colorist Guy Major, who helps bring the streets of Gotham to life by downplaying its colors. This is a dark, dark book (save for explosions) and Major's palette does a lot to give the atmosphere a cold, unsettling tone.

Gates of Gotham #1 is a compelling start to what has potential to be one of the most evolutionary tales in Batman's recent history.

More info:

Story by Scott Snyder, Kyle Higgins
Art by Trevor McCarthy
Colors by Guy Major
Letters by Jared K. Fletcher
Cover by Trevor McCarthy, Dustin Nguyen
Publisher: DC Comics

Title: Wolverine Anniversary (Click to go to the release post)
Writer(s): William Harms (Click to see other books from this writer released on this site)
Review source: the Detective (Don't click it, read the review here... )

Review:

Wolverine: The Anniversary was released today on Marvel Digital Comics unlimited. So, since the majority of the digital releases today starred Wolverine, my choice wasn't too hard. What drew me to this particular issue was the great cover and that it's a one shot. I know some comic readers don't waste their time with annuals or one-shots but I have to say this one-shot turns out to be a really good read. Jonathan Mayberry writes the first story here called"Ghosts". The ghost in particular that haunts Wolverine is his old loved one, Mariko Yashida. Mayberry succeeds in showing us how important and special Mariko was to Logan. At times in the first chapter ,I felt sorry for Logan 's loss and his chance at love with Mariko. Tomm Coker's artwork aids the story and the dreamlike quality needed here. It is a great dream sequence that sets the mood of the entire annual as it segues into the second story "The Anniversary" where we find Wolverine waking up from the bad dream on a 747 bound for Japan. Turns out Wolverine is on his way to visit Mariko's grave on their wedding anniversary. On the 747, Logan realizes pretty quick that terrorists are aboard and takes them on a little differently here rather than in his own invariable style. In" Anniversary", writer William Harms and artist Jefte Palo take over the storytelling chores. Palo's art on the second story I feel wasn't as impressive as Tomm Coke's on "Ghosts". Palo does treat us to a pretty nice splash page inside that demonstrates the energy needed for Wolverines character as it helps us through the rest of the story.The splash also inspired the cover art by Simone Peruzzi. Despite the storyline that makes me think of the movies Passenger 57 and Executive Decision, I think that overall this comic is worth reading. It treats us to character and formula in its separate chapters and they work well together as a whole. Plus, it has some great Wolverine moments you probably don't want to miss.

More info:

Writer: William Harms, Jonathan Mayberry
Inker: Tomm Coker
Colorist: Lee Loughridge, Daniel Freedman
Letterer: Joe Caramagna
Other: Jefte Palo, Simone Bianchi, Simone Peruzzi,
Orig. Published: April 22, 2009

Title: American Vampire (Click to go to the release post)
Writer(s): Scott Snyder (Click to see other books from this writer released on this site)
Review source: Kelly Thompson (Review 1) and Dean Stell (Review 2) (Don't click it, read the review here... )

" You’re not going to find better art anywhere."
Review:

Review 1: American Vampire #1 - Scott Snyder’s excellent “American Vampire” has been giving readers a fascinating fresh look at vampires over the past year – no easy feat. With his new mini-series “American Vampire: Survival of the Fittest,” he shows us the other side of that world, through Felicia Book, a vampire hunter and agent of V.M.S. (Vassals of the Morning Star).

In this first issue, we’re introduced to Felicia Book, a vampire hunter of sorts in New York City in 1941. Book has been around for a while and is the most celebrated (literally to the point of celebrity) vampire hunter in her organization, the V.M.S. After persuasively (and violently) convincing a powerful newspaper mogul that his publication is infested with vampires, Book returns to base (under the Natural History Museum – very cool) and is waylaid from her planned sabbatical with an important mission. Nothing short of a cure for vampirism would stray Book from her plans, but exactly that pairs her up with fellow agent Cash McCogan on a mission to find the cure and bring it back.

Snyder expertly puts all the pieces we need for a satisfying story on the board in this first issue. Felicia Book is a great character from page one, layered and emotional but believable and flawed. We learn just enough about her to pique our interest and draw us in for more. The use of the V.M.S. as monitors and hunters of vampires is a well-worn trope from “Buffy The Vampire Slayer” and “Highlanders: The Series” watchers and Anne Rice’s Talamasca to “Hellboy’s” B.P.R.D. and beyond, and Snyder uses it to good effect here. Snyder hints in this first issue at all the mystery and history that he’s clearly already laid down, and gives us just enough to come back for more. It’s the mark of a masterful writer when a reader can be compelled and curious but also feel confident that all will be revealed in due time. Snyder manages it all here with apparent ease.

Sean Murphy’s art in this issue is nothing short of spectacular. The book has a gritty feel fitting of the 1940’s and of a book that straddles the supernatural and crime genres. Felicia Book is a beautifully designed character, all sharp angles and determined jaw, long lean silhouette and painfully stylish clothing. Her short hair is particularly wonderful and it’s hard not to fall in love with her before she even opens her mouth. In a single issue, Snyder, Murphy, and Dave Stewart have given me one of the most exciting new female protagonists in serial comics that I’ve encountered since Greg Rucka’s P.I. Dex Parios debuted in “Stumptown” in 2009. The other characters are given the same careful and considered visual treatment by Murphy, as is the universe they inhabit from the V.M.S. headquarters to the city of New York. The colors by Stewart are particularly effective – a subtle, largely brown palette with powerful pops of saturated red. Overall it creates a fantastic look and feel that breathes life and unique personality into the book.

Snyder has, in just the last year, made an impressive mark in comics with his powerful storytelling, fine craftsmanship, and detailed character work. This latest book is no exception. Next to his exceptional work on “Detective Comics,” “American Vampire: Survival of the Fittest” is easily Snyder’s most compelling work to date.

Review 2: American Vampire #15 - The Story: Henry’s gang of vampire hunter/soldiers runs for their lives on the Japanese island of Taipan in WWII.

What’s Good: Fun and exciting story? Check! A sense of mystery? Check! Great art? Check! I feel like I say those things every month about American Vampire and it is truly one of the most consistently excellent books on the market. Seriously, if you haven’t been reading, get the first two hardcovers and catch up.

The first couple of issues of this story arc had a lot of ground to cover to establish this story: Henry joining the U.S. military and being sent with a team of secret vampire-killer commandos to deal with possible vampires on the Japanese held island of Taipan and keep the vampires from interfering with U.S. forces landing on the island. All of this is set against the backdrop of Henry and Pearl’s strained relationship as he ages and she doesn’t and whatever schemes Skinner Sweet and the secret society of vampire hunters back at Pearl Harbor have going. What’s great about all the plotting and scheming is the reader never gets the feeling that says, “I know what’s going to happen next!” Life is too short to read predictable stories and given how inundated a modern reader is with “story” in all forms of media, it is a real testament to Snyder & Albuquerque that they can keep us guessing about what’s next.

This is also a mostly all-action, run-for-your-fucking-life kinda of story as these weird feral vampires descend upon our band of soldiers. One thing stands out in this action further drives home what a gifted writer Snyder is. At one point, one of the soldiers is rapidly transformed into a feral vampire and comes after the good guys. Snyder proceeds to show us the scene where the other characters pause to discuss how their vampiric buddy [paraphrasing] “didn’t even know who we were. he just came after us”. That scene can be pretty cliché because we’ve all seen it countless times in vampire/zombie movies, but Snyder is able to power through the cliché by wrapping it with a discussion of the nature of these new vampires (and probably a little bit of accumulated good will from the entirety of the series). It just goes to show that some writers can pull off a challenging scene when other folks would struggle.

Oh yeah, and I can’t wait to see what the hell Skinner is up to. He’s just kinda bouncing along on this mission and you wonder if he’ll turn on the good guys? And what’s with the new human villains at the end? Good stuff all around.

Albuquerque’s art is really strong on this issue. Readers have seen so many horror movies, the idea of establishing a sense of dread in a comic book is really hard. It isn’t that you can’t do it, but you have to pick the right images to unsettle the reader. The Page 1 splash is a great example as these freaky looking feral vampires (that are only vaguely humanoid) just come boiling out of a hut to attack the soldiers. That image alone would probably be enough to say, “Holy crap! Run!” But, Albuquerque doesn’t stop there with this panel; tThe nature of the panel leaves the top right corner open, so Albuquerque puts a single vampire in the foreground in silhouette. This single addition (a) tells us that the soldiers are surrounded without them having to yell, “We’re surrounded.” and (b) enhances the sense of depth to the panel by adding a third plane of action: foreground, middle and background. And, it adds the foreground without interfering with the main characters being in the middle where you can see them. Very nice.

What’s Not So Good: Just little stuff… For example, I can’t remember these soldier’s names or the name of the ancient sect of vampire hunters that they belong to. It’s times like this that DC’s steadfast refusal to include a recap page really burns my butt because the only other alternative is to include a lot of exposition heavy dialog that would remind the reader of an old issue of Claremont’s X-Men with Wolverine talking about his adamantium claws and skeleton in each issue. C’mon DC! Your readers are old and sometimes we can’t remember things like the names of our extended family members or co-worker’s spouses, much less the names we saw one time in a comic book.

Conclusion: Very strong issue that cranks up some of the action that Snyder and Albuquerque having been building towards for a few months. They also unveil some new mysteries and the reader has no clue what will happen next. And, you’re not going to find better art anywhere.

More info:

Story by Scott Snyder
Art by Sean Murphy, Rafael Albuquerque
Colors by Dave Stewart, Dave McCaig
Letters by Pat Brosseau
Cover by Sean Murphy

Publisher:

Title: Logan’s Run – Aftermath (Click to go to the release post)
Writer(s): Paul Salamoff (Click to see other books from this writer released on this site)
Review source: CBR News Team (Don't click it, read the review here... )

Review: "Logan's Run: Aftermath" #1

Bluewater's best-selling comic book and graphic novel series "Logan's Run" returns with an all new action-packed sequel, "Logan's Run: Aftermath." This new ongoing series hits stores this week with the mind-bending first issue that promises to keep readers hooked for the entire length of this epic series.

The new series is described as, The Thinker is destroyed and the world is in chaos, but Logan wants nothing to do with it. But the world isn't done with him yet and when the lives of Jessica and his son Jaq are put in jeopardy, Logan must once again don his armor. LOGAN'S RUN: AFTERMATH continues Logan's epic journey as he races towards an uncertain destiny.

Logan's Run creator William F. Nolan said, “The new Logan series from Bluewater is extremely satisfying. I could not be happier with their treatment and eagerly look forward to new issues.”

This new ongoing series, written by Paul J. Salamoff and illustrated by Phillip Simpson will definitely be a hit among fans of the past "Logan's Run" series, as well as fans new to this particular title.

"Logan thought he was finished with the world after the events of LAST DAY, but his journey hasn't even begun," says writer Paul J. Salamoff. In AFTERMATH, when Jessica and his son Jaq are put in mortal danger, his exploits takes him down a dark and bloody path that unleashes a terrible violence that has been boiling inside him since his birth. AFTERMATH uses elements from LOGAN'S WORLD, the 2nd book in the LOGAN'S RUN Trilogy but also takes Logan on a new direction that opens up the entire LOGAN'S RUN Universe.

Issue #2 of “Aftermath” follows at the end of June. The standard 22-page issue will be available at comic book retail outlets. To make sure you get your copy, contact your local comic book store to pre-order it.

Colonial Radio Theater have entered into an agreement with the comic book publishers Bluewater Productions to produce "Logan's Run - Last Day". Based on the classic book by William F. Nolan and George Clayton Johnson, and a screenplay by Paul J. Salamoff.

More info:

Author: Paul Salamoff
Artist: Phillip Simpson
Cover Artists: Daniel Gete - Giovanni P. Timpano

Title: Vampirella (Click to go to the release post)
Writer(s): Eric Trautmann (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... )

" An interesting relaunch and I hope one to look out for."
Review: Vampirella #1

Vampirella is usually seen as a pin up, not a character. People forget that Frank Frazetta and Forest J Ackerman worked on her and that she’s seen decades’ worth of publication. Most couldn’t name one story with her in it, but they could pick her iconic image out of any alluring line up. This relaunch looks to put Vampirella into a modern story of intrigue and blood sucking that’s sure to fit right into the current vogue of vampire fiction.

The opening pages show our vampiric heroine patrolling the streets like some sort of hybrid between Batman and Blade. She’s helping the world become a better place, and even wearing clothes to make it happen. Instead of the usual visual we think of, this lady has a stylish, and swirling, trench coat and actual pants, not to mention a shirt as well. She looks like a person who might actually walk the streets, at least in a comic.

I don’t understand why Dynamite have published this comic with the cover it has, where Vampirella is barely wearing anything, when it’s quite the opposite on the interior pages. The cover is selling to the old school fan of those Frazetta glory days. But the tale, and art, are much more modern. This comic feels like it has been made to suit the True Blood fan who is looking out for something more. This isn’t a sexist comic. Far from it, it seems well steeped in girl power. I think this title will have an uphill battle satisfying either audience until it decides to focus on just one.

We are eventually led into a ‘biter club’ where the vampires congregate and Vampirella will surely exact some old school vengeance. There are action scenes ending in stakes through the heart and plenty of good looking vamp girls to take some screen time up. It’s got all of the things we love about easy vampire fiction, the flippant Buffy styles mixed with the history of True Blood and yet it manages to avoid the teen angst of Twilight. Still, it does feel like a product of all that has come before it. And it just doesn’t manage to quite transcend it.

The bonus story from Jeph Loeb and Tim Sale is from 1999 but is a perfect fit for this relaunch. It’s an overwritten tale of Vampirella’s seductive ways, but it fits the subject matter completely. It’s a fun little romp, like a Halloween extra that doesn’t have to mean more than you want it to.

This is an interesting relaunch and I hope one to look out for. It needs to decide exactly what type of comic it wants to be and then push in that direction hard. It feels like the next step for those who have enjoyed the four color exploits of Sookie Stackhouse. This has one very cool leading lady, a history of vampires for her to fight against, and if the reveal at the end is anything to go by, an interesting villainess to face off against.

More info:

Story by Eric Trautmann
Art by Wagner Reis
Colors by Inlight Studio
Letters by Marshall Dillon
Cover by J. Scott Campbell

Publisher:

Title: Batman The Dark Knight (Click to go to the release post)
Writer(s): David Finch (Click to see other books from this writer released on this site)
Review source: Grey Scherl (Don't click it, read the review here... )

Review: Batman The Dark Knight #1

My first exposure to David Finch was actually Star Trek/X-Men back in the 90′s, but I literally just discovered that, so instead I’m going to list it as the first time I knew I was seeing his art. Ultimate X-Men back in 2003, when he provided the art for Brian Bendis’s brief run on the title, and I remember immediately thinking that he had a cool dark and gritty style that I wanted to see more of. And more of it I definitely did see over the years, between interior art in books like New Avengers, Moon Knight, Ultimatum, and Second Coming, he also was one of the most predominant cover artists in Marvel’s stable. But there was one thing that always kind of bugged me, see, Finch has this really cool dark and gritty style, the kind of art that was amazing for Moon Knight….but Moon Knight is just a poor man’s Batman…..

And so it began. When I heard Finch had gone to DC Comics, the first thought that entered my mind was “He’s going to draw Batman”, it’s the franchise he was born for (much like I’ll claim Gary Frank was born to draw Superman). So I wasn’t surprised to see that, aside from the covers of Brightest Day, that Finch would be quickly thrust into the Bat umbrella so that his particular style could be fully taken advantage of. I was surprised, however, to see him become the writer-artist of Batman: The Dark Knight, as I had expected him to be the artist for Grant Morrison (this was before Batman Inc was announced). So all of the sudden I’m torn, because I swear that Finch is destined to be one of the best Bat artists of the modern era, but I have never even considered what his writing would come across like. I mean, it’s a very similar situation to Tony Daniel where a little research shows me that they have done the writer-artist deal in the past, but not on books I’ve read or heard of. So I’m comparing him to Tony Daniel and then it hits me….I like Tony Daniel as a writer-artist on Batman, and I’m even more excited at the prospect of David Finch drawing Batman, so I have to buy it. How bad can it be?

Not bad at all, to be honest. This is a great first issue that reads almost as well as it looks. The very first thing I notice about the look of this book is that it evokes memories of Hush, which is understandable since Finch is teamed up with Scott Williams and Alex Sinclair, Jim Lee’s preferred inker and colorist. Now, I wasn’t a huge Hush fan, but the combination of Finch and those two makes for one of the best looking Batman issues I’ve seen in a while. Despite handling all the primary creative duties on this book, he doesn’t allow the quality of his art to slide at all, he maintains the quality that fans will expect when they see his name on the title. His rendition of Killer Croc was really sweet looking, monstrous without losing the fact that he started off as a man. Then there was another villain he redesigned for the end of the issue whose name will go unmentioned in this review (maybe I’ll do a spoiler for the morning), and I’ll admit that I don’t remember the last time that villain looked the least bit menacing, so it was a nice touch.

The writing is the big question in this issue though, as let’s be honest, nobody who has seen David Finch’s body of work (and claims to be a fan of it) had any questions about how well he would handle the Dark Knight. Again, born to draw Batman. I was pleased though, pleasantly surprised even, I mean, who knew that the book would read as fluidly as it does? Batman has his voice, and despite that I haven’t seen a whole lot of Bruce in costume this past year, this book is clearly Bruce and Finch has clearly been reading Batman long enough to have figured it out. At times things get a little clunky, mainly in the narration, but it’s never too jarring and at no point did I find myself having to stop reading it to question what he was doing.

The book could easily draw some easy Hush comparisons for more than the art though, as Finch debuts a character who (like Tommy “Hush” Elliott) knew Bruce as a child, before his parents were killed, and who was created just for the sake of the story. Hopefully she won’t just be used as a villain….I can live with her being a plot point, but I really don’t want to see her wind up as a villain because I really don’t want to compare the book to Hush again.

The scope of the book isn’t something like you’d expect out of Morrison, I mean, the first arc is looking to unfold as Bruce trying to hunt down a girl he knew when he was a kid because she was kidnapped, and most likely will go through several of his rogues on the way to finding her so that Finch can show what he’s got. It’s not the most dynamic and original story ever, but does it need to be? We’ve got Batman Inc by Morrison, and Tony Daniel has Dick Grayson against the Gotham Mob, so I think Finch handling a Batman who fights Bat villains on Batman like cases? I can live with that, especially if the books keep reading like this. This is a good book, and definitely worth coming back for the second issue of. Finch demonstrates all the making of a solid and quality title in this first issue, and I can’t wait for more.

More info:

Writer-artist: David Finch

Title: Megamind (Click to go to the release post)
Writer(s): Ape Entertainment. (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: Megamind #1

Ape Entertainment’s Kizoic line continues to pump out the DreamWorks-related comics. “Megamind” hit theaters a while back, but it is still in theaters and, therefore, fresh enough to warrant a gleeful gasp from younger readers that might see this issue on the stands. The story contained within is actually a collection of three stories that bounce around through the life of Megamind.

The first, and longest, story is a peek into the past featuring the happenings of Metro City High’s prom. As if high school isn’t bad enough for a teenager, being blue-skinned and gifted with an excessively large cranium magnifies the standard-issue teenage inadequacies, and offers fuel to the fire of the developing evil mastermind. Burns’ story is light-hearted in its plot, evil scheme, and execution. Megamind winds up challenging Metro Dude’s claim to the Prom King crown, which leads to some Looney Tunes like moments that provide a few chuckles. The story doesn’t deliver any high moral or deep message, but rather offers up some entertainment and insight into Megamind’s past.

The rest of the issue is comprised of two four-page, one-note stories. The first four-pager that leaves us hanging until the next issue, but it isn’t hard to craft a potential resolution. Quinn Johnson sells the story and the cliffhanger, but does so with a wink and a nod. The final story in this issue is a chuckle-worthy four-pager as Megamind loses track of his invisible car the way some people lose their keys or the television remote. Of the three stories, this is the one my kids come back to, have shared with their mother, and continue to chuckle about.

The art on the book is snappy and clean. Peniche’s style is more high-polished and vaguely reminiscent of the animation style from the film. In some areas his storytelling hiccups, but those moments are quickly paved over as the story just moves forward. Francisco’s story is more in line with traditional comic book art.

I’m happy that Ape continues to throw these DreamWorks comics out on the stands. They offer a nice option for parents (or aunts, uncles, or otherwise philanthropic adults) hoping to nurture the next generation of comic readers. This line is definitely geared towards the kids who are plugged in to the hit movies from DreamWorks, and this series is no exception. It is, however, definitely a younger reader comic more so than an all ages read.

More info:

Story by Jason M. Burns, Quinn Johnson, Jesse Leon McCann
Art by Fernando Peniche, Tina Francisco
Colors by Dustin Evans, CV Design
Letters by Josh Crawley
Cover by Fernando Peniche
Publisher Ape Entertainment

Title: Insurrection V3.6 (Click to go to the release post)
Writer(s): Blake Masters (Click to see other books from this writer released on this site)
Review source: Scott Hunter (Don't click it, read the review here... )

Review: Insurrection V3.6 #1

A Good Sense of Place - The book is set in the year 3000 CE*, and at this point Earth has become a utopia. However, off-world wars are still waged for resources to keep that utopia alive. These wars appear to be fought using ‘auts’ – machines made to look like humans. The book focuses on a certain ‘T.L. Model 3.6-195′ or, ‘Tim’ as he comes to call himself. This aut is established to be different from the others – he asks questions about his existence and the way of things etc. Tim is being sent to the planet Sparta, recently taken from some other company, to replace a T.L. unit that has been destroyed. Also on his way to Sparta is Hal, a human who is going to fill some important position there. Long story short, Hal insists on taking a tour of the mines, even though they are not yet safe, and our issue ends with him activating a trap left by the previous owners, whilst accompanied by some friendly auts, including Tim.

This book was an interesting read for me. Initially, the plot is quite generic: future war, robot soldiers, one of them starts to question things, we’ve heard this all before. However, the issue, through a combination of writing and art, manages to create a real sense of place, of a universe at large, to the extent that I was drawn in and my interest was maintained until the end of the book.

The first third or so of the book is dedicated to an opening sequence where an army of auts take the Sparta facility; whilst opening with an action sequence is a good way to draw the reader in, and the sequence itself is pretty cool, it features none of our main characters and, as a consequence, we don’t meet Tim until page eight, and as such we as an audience are not given as much time as we would, perhaps, like to get to know him and care about him by the end of the issue, when he is placed in danger. My second major problem is far more specific, and it revolves around one scene in which Hal encounters a female aut (a model, it seems, that is designed to be attractive) and he is enchanted by a tune she is humming. This does not work – we cannot hear the tune, and so we cannot understand why Hal is so bewitched. Writers, take note.

Tim is a very run-of-the-mill character, and rather uninteresting for it. The character of Hal, however, interested me much more. He appears to be a man who has left a utopia in search of adventure, a man who, perhaps, even resents his family for them tying him down. This is a conflict, and a journey, that I can get emotionally invested in, and it is a pity, then, that Hal is put into the role of the stupid bureaucrat by the end of the issue, bumbling into a trap. I can only hope that, in the future, the former part of his character will be emphasised over the latter. The dialogue in this issue was also very good, always feeling natural, and even extended conversations flowed well.

Some Knock-Out Art - The art is what I really enjoyed about this issue, and contributes more than anything else to that aforementioned sense of place. It has a kind of retro look, in some panels (particularly in close-ups of faces) it looks like some exquisite 1950s illustration; on that topic, I really enjoyed the panel layout, which incorporated, on occasion, small circular panels that gave us a close-up of a character’s (or characters’) face, in a manner that works extremely well. The faces themselves are also a joy to look at, the characters, at times, seeming so alive that I was really impressed. The colouring is also a joy – bright and vibrant, it brings a real life to the art. The palette also swaps somewhat between locations, and the colouring manages to give each locale a distinct feel.

There are only a couple of downsides to the art that I could find: firstly, the opening battle sequence has some problems with flow. Whilst it is certainly possible to work out what is going on, at times I had to pause to figure things out, and this rather acted in opposition to the atmosphere of the sequence. Secondly, there are a couple of panels of cheesecake-y art, which may or may not hinder your enjoyment of the book.

As for covers, Cover A shows Tim standing in some warzone, on top of some fallen machine, with buildings and a green sky in the background. For starters, the place he’s in doesn’t look like any location in the book, nor does he really fight anything this issue. However, the colouring might help it stand out on the rack, and the title looks pretty good. Cover B shows some soldiers fighting one of the large machines from the book, so it immediately beats Cover A in terms of relevance. This cover is also really well-drawn and looks quite impressive, and although it doesn’t really have that much to do with the plot or characters of the book, neither does the first third of the book itself.

Worth Checking Out - Overall, this was a good read – the art is excellent and, although the writing has a couple of problems, it’s not anything deal-breaking, and as such I award this book three and a half stars out of five.

More info:

Writers: Blake Masters & Michael Alan Nelson
Artist: Michael Penick
Colourist: Darrin Moore
Letterer: Travis Lanham
Cover Artists: Karl Richardson (Cover A), Rael Lyra (Cover B)
Editor: Dafna Pleban
Publisher: BOOM! Studios

Title: Unknown Soldier (Click to go to the release post)
Writer(s): Joshua Dysart (Click to see other books from this writer released on this site)
Review source: Dan Phillips (Review 1) and Timothy Callahan (Review 2) (Don't click it, read the review here... )

Review:

Review 1: Unknown Soldier #1:
I hate to invoke the word "event" in a week dominated by so called "event comics", but I feel like the debut of any Vertigo title is one of the few occurrences in this industry worthy of calling an event in its own right. Such a high, disproportionate number of Vertigo titles have been exceptional over the years that the arrival of any new title from the acclaimed publisher always warrants some genuine excitement and buzz. And judging from this debut issue, Joshua Dysart and Alberto Ponticelli's Unknown Soldier deserves every small but important bit of excitement and buzz surrounding it. This series has the potential to be just the latest in a long line of phenomenal Vertigo successes.

I don't want to call Unknown Soldier a superhero book, because it's so clearly not your typical take on the superhero. It does, however, include what you would call the most basic archetype for the adolescent superhero power fantasy– an ordinary man who gains strange new abilities and sets about using them to right the horrific injustices that surround him. The ordinary man in this case is Dr. Lwanga Moses, a pacifist doctor who moves back to Uganda to help resurrect his war-torn country through peaceful activism. His strange new abilities consist of frighteningly violent and efficient ways to kill people. The injustices that surround him are plentiful, and include the genocide of his people and the forced enlistment of children into conflicting sides of the raging civil war.

The reason I'm sticking to this superhero angle is because I think Unknown Soldier is a shining example of the dramatic and intellectual heights to which the superhero genre can and should aspire. When you compare its premise to, say, Secret Invasion's, it's a lot easier to feel good about the artistic merits of the superhero genre. Secret Invasion caters to the lowest common denominator of the genre, and is content showing over-muscled action figures pounding the living crap out of each other. Unknown Soldier uses the superhero concept as a way to tackle big, lofty and ironic ideas such as whether it is at all possible to heal a war ravaged country through pacifism, or whether there is indeed a time when even pacificts should strip away their own identity and get down to the nitty gritty business of dolling out death. Judging from this first issue alone, it's clear Unknown Soldier wont ask anything but tough questions, and the answers it does provide are all likely to be dowsed in blood.

Anytime I approach a book with a subject matter as serious as the Civil War in Uganda, I'm always sure to keep an eye out for unwelcome heavy-handedness, moments where the writer tries to beat us over the head with the direness of his subject. There's no such heavy-handedness to speak of here, even if Dysart spends the first half of the issue having his hero preach about the realities of the Ugandan situation. That peachiness is crucial to setting the stage for this story, and disappears seamlessly into the background once Dysart introduces the tragic and violent twist of the story. The art, by Alberto Ponticelli, is suitably dark and gritty, and does a remarkable job capturing the atmosphere of an impoverished, scorching hot African village.

Vertigo looks like it has yet another hit in the making with Unknown Soldier. Next time you're in your comic book shop, make sure to pick it up and see for yourself.

Review 2: Unknown Soldier #5
Two thirds of the way through "Unknown Soldier" #5, Joshua Dysart and Alberto Ponticelli give us a touching scene between the hideously disfigured Moses Lwanga -- the "Unknown Soldier" himself -- and his wife, Sera. He doesn't want his wife to see what lies beneath his bandaged face but his wife, reasonable and not without sentimentality, says the bandages "desperately need to be changed, and I…I want to touch your face. Please."

Not, "I want to see your face," but "I want to touch [it]." That's the kind of comic "Unknown Soldier" strives to be: one that doesn't merely show you the atrocities committed in Uganda, but one that wants to make those atrocities palpable.

The danger here -- and Dysart surely knows it, saving his detailed history lessons for the text pages included within, but leaving the comic book narrative more ambiguous -- is that the comic will become just a contemporary version of the social protest films of the 1960s, or the heavy-handed social realism comics of the Bronze Age. That it will scold us for our inattentive natures, for passively living in a world which allows Uganda to fall into violence and chaos. That it will teach is that War Is Hell, and we should all do our part to make sure it doesn't happen like this again.

But Dysart smartly avoids such preachiness by focusing on the details of Moses's situation. It's the story of one man's struggle to do what's right, even when forces beyond his control have literally destroyed his face and taken away who he once was. By keeping the story whirling around the Unknown Soldier -- a label that has only metaphorical meaning here, since we all know who is behind these particular bandages -- Dysart makes the comic about characters in action, and not about the social problems themselves. The themes are readily apparent -- and War Is Hell, for sure -- but they resonate more deeply because they are connected to a compelling narrative. This is a violent, messy Vertigo crime comic set in a war-torn landscape. The crimes are political ones, with personal repercussions, but it's far closer to the crime genre then the stereotypical "war comic" genre you might expect from its title.

We also learn, through fragmented imagery -- flashbacks or hallucinations? -- that this Unknown Soldier might share more in common with previous incarnations than just the name and the bandaged look. There's something deeper going on here, and Moses begins to sense it, even if he can't connect the dots just yet. But such a nested structure, with a larger mystery wrapped around the more immediate personal conflict, bodes well for the future of this series. Dysart has a grand story to tell, and I hope that this series lasts long enough for him to tell it.

More info:

Story by Joshua Dysart
Art by Alberto Ponticelli
Colors by Oscar Celestini
Letters by Clem Robins
Cover by Igor Kordey
Publisher: Vertigo