The graphic novels loved by children and adults alike
Jun 29th, 2011, 4:33 pm
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Title: The Strange Case of Mr. Hyde (Click to go to the release post)
Writer(s): Cole Haddon (Click to see other books from this writer released on this site)
Review source: Paige MacGregor (Don't click it, read the review here... ;) )

Review: The Strange Case of Mr. Hyde #1
    “In each of us, two natures are at war – the good and the evil. All our lives the fight goes on between them, and one of them must conquer. Will it be the beauty of good, or evil and its trick of making goodness seem ugly and weak?”

    At first glance I was unsure as to whether or not I was going to like Dark Horse Comics’ The Strange Case of Mr. Hyde, and I admit that I put off reading it longer than I should have as a result. Once I did read the first issue, I came to realize that this series likely will be one of the ones that I read on an ongoing basis — not something I can say for every comic book that I review.

    The Strange Case of Mr. Hyde isn’t a comic book adaptation of Robert Louis Stevenson’s famous novella, The Strange Case of Dr. Jekyll and Mr. Hyde (more commonly known simply as Dr. Jekyll and Mr. Hyde), as the series’s title might seem to suggest; in fact, Mr. Hyde is an original work of fiction that combines influences ranging from Stevenson’s classic Jekyll and Hyde story to the horrifying legends of the infamous serial killer Jack the Ripper.

    Mr. Hyde #1 opens with three pages of story and illustration that set the stage for the reader by alluding to the controversial nature of Dr. Jekyll’s experiments and outlining briefly the events leading up to his horrible transformation into Mr. Hyde. Fast forward five years: the gruesome and perplexing nature of a string of murders has forced the Chief Inspector of London to hire a special investigator named Thomas Adye, whose methods of detection are said to be far beyond those of London’s investigators. With each new murder Adye collects more evidence, but the more information he has the more perplexed he becomes as the facts indicate that the murderer is… superhuman.

    But Scotland Yard’s been keeping a secret from the citizens of London for five long years… one that could be the key to unraveling the increasingly puzzling string of brutal murders befalling the city’s streetwalking population. Long thought to be dead, the murderous villain Mr. Hyde (formerly known as the illustrious, if immoral, Dr. Jekyll) remains prisoner deep underground, locked away with only his former friend, Dr. John Gabriel Utterson, for company. According to Dr. Utterson, Mr. Hyde no longer controls Jekyll’s body, but the man locked away is no longer the scientist he once knew and respected.

    The way he sees it, Adye cannot solve these murders without Dr. Jekyll’s help, and the resulting conversations between the inspector and the former madman are reminiscent of the interactions between fictional F.B.I. agent Clarice Starling and the cannibalistic serial killer Hannibal Lecter in The Silence of the Lambs (1988) and other adaptations of Thomas Harris’s popular horror novels. Like Lecter, Jekyll wants the investigator to play mind games with him in order to obtain the information and assistance that he needs. Initially reluctant to give Jekyll what he wants, Adye comes to the realization that he’ll have to do whatever necessary to stop the serial killer that’s on the loose.

    The Strange Case of Mr. Hyde #1 is a very well written comic book issue — so well done, in fact, that the series was picked up by Skydance Productions, in conjunction with Dark Horse Entertainment and The Mark Gordon Company, for cinematic adaptation before the first issue was even released. Fortunately, Cole Haddon’s writing is brought to life by equally impressive illustrations, provided by freelance illustrator and graphic designer M. S. Corley. Surprisingly, this is the first time that Corley has illustrated a comic book — but based on what we see in Mr. Hyde #1 it certainly won’t be the last time. Those interested can view some of his artwork, as well as a seven-page preview of The Strange Case of Mr. Hyde #1, on the artist’s official blog.

More info:
    Writer: Cole Haddon
    Artwork: M.S. Corley
    Colors: Jim Campbell
    Letters: Richard Starkings & Comicraft
    Cover: M.S. Corley & Jim Campbell
    Designer: Justin Couch
    Original Release: April 27, 2011
    Publisher: Dark Horse Comics

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Jun 29th, 2011, 4:33 pm

Post rewarded by Ojay on Jun 30th, 2011, 9:29 am.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 29th, 2011, 5:24 pm
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Title: Abyss – Family Issues (Click to go to the release post)
Writer(s): Kevin Rubio (Click to see other books from this writer released on this site)
Review source: Eric Whitman (Don't click it, read the review here... ;) )

Review: ABYSS: FAMILY ISSUES #2
    Abyss: Family Issues #2 is quite possibly my favorite in the excellent series. While previous issues have been well written, Kevin Rubio adds a great deal of character development for his title character using the classic Hero's Journey structure to change the character from reactive to pro-active. Combine this with a sense of humor that will appeal to most comic fans and a firm handle on the large ensemble to have a great read.

    In the first issue, principal protagonist Eric Hoffman was given an ultimatum of sorts, but nothing is quite clear cut. I enjoy that not everything is obvious in the world Kevin Rubio has created, yet the whole never seems especially convoluted. Even as Hoffman starts coming into his own, there are still several options ready to shape that development. The importance of this is paramount given how the character was purposely reactionary up until this point. As he reaches definition, what was presupposed about good and evil blur. While that all sounds wonderfully deep, the writer keeps the fun constant and never lets his script get bogged down by all the drama going on. There are brilliant vibes of Ben Edlund (creator of The Tick and writer for Firefly) here with characters that are likeable despite their faults and funny because of them, yet there's a certain competence with each where they make believable heroes/villains. Using established and identifiable archetypes to play against doesn't hurt either.

    Abyss unabashedly parodies/honors/steals from classic Marvel and DC properties. This is most apparent in the visual department, which adds exponentially to the comedy for anyone who has a knowledge of the medium. In fact, the art does most of the heavy lifting in the humor department so that the script can hold together the story and move along the characters. Alfonzo Ruiz puts a lot of detail into each panel for a person to find (A no prize to whoever catches Aquaman playing water polo or Kilowog at a card table.) and some cameos from unexpected visitors from other publishers/pop culture. The fun goes beyond a Where's Waldo novelty as the illustrations actually compliment the story well. My only extremely small qualm would be that there are a few panels in which the shadows are off. It's the exception rather than the rule and, thus, had no real bearing on my final perception of the work.

    With this comic, the creative team took something good and made it even better. It's funny and entertaining, but uses that to create some depth of character, an involving story, and a plot that isn't trite or clear cut. In other words, it's definitely something that I would recommend picking up, giving it a read, and reading it again afterward to catch everything you missed. Also, you can follow the main character on Twitter.

More info:
    Story: Kevin Rubio
    Art: Alfonzo Ruiz & Gary Henderson
    Cover: Alfonzo Ruiz & Andrew Crossley
    27 Pages/FC

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Jun 29th, 2011, 5:24 pm

Post rewarded by Ojay on Jun 30th, 2011, 9:29 am.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 29th, 2011, 9:07 pm
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Title: Creepy (Click to go to the release post)
Writer(s): Various
Review source: DecapitatedDan (Don't click it, read the review here... ;) )

Review: Creepy #5
    “The newest, gnarliest, and ickiest incarnation of the classic horror anthology Creepy is clawing its way onto your must–read list for 2011! Don’t miss the demented debut of Creepy #5 this March, which features strange and stunning offerings by David Lapham (Stray Bullets), Timothy Truman (Conan), classic Creepy cover artist Sanjulian, and much, much gore. Whether you prefer your horror tales bloody and bold, or supernatural and subtle, Uncle Creepy and his maleficent minions are sure to satisfy your lust for scary stories!”

    Blood of the Sky: 4.0 out of 5
    Hello, Trumans! What more can be said about this story…. Oh, you want a full review, no problem. Out of the four stories this one was by far my favorite. The story alone recalled those days, when I would find fantasy mixed in with the Warren titles, and look, here it is again. While this might not have been the “scariest” of the stories, it was the most stunning on both the written and visual level. The artwork was GORE-geous from panel to panel. This was the perfect way to start this issue.

    The Field: 3.5 out of 5
    Moving on to story number two, we arrive at the scariest of the bunch, “The Field.” This one was kind of out there; it reminded me of a mix of modern and classic horror stories where you had a more modern setting twist within this classic style. The art here was fantastic from panel to panel. The story, though, I felt was a little jumpy. We did get a complete story, moving from point A to point B, but it felt rushed. Overall, I was happy with it.

    Loathsome Lore: 2.5 out of 5
    Now we come to the story that made me scratch my head. This one I really didn’t find a purpose for in this book. Talking about actual cults, it came across as more of a history piece that, well, I didn’t find an appeal to. Then the ending really let me down, with a “Join the Fan Club” message. Now, I did get the joke, but I didn’t like it. Art wise, I liked this one, but story wise it didn’t work for me.

    Murdicide: 4.0 out of 5
    And last but not least is the creepiest of all the stories. This one followed the classic “you’re going to get what you got coming” outline, but gave it a fun twist. Story wise it was all there, but again I thought it was too short. I liked the presentation, it just felt rushed. The artwork on this one I just flat-out loved. It had a great look to it, that reminded me of the older magazines.

    Dying Breath: 3.5 out of 5
    While this issue falls in line with some classic horror storytelling, it had a few issues I couldn’t see past. Not that everyone will like every story they read, I mean, I think three out of four being good makes this one a solid winner. The third story, though, just seemed to bring it all down a notch, by putting me in a foul mood. Nonetheless, this book stands up there with the previous four issues as a great addition to any horror collection. I say read it loud, read it proud, and read it NOW!

More info:
    Writers: Timothy Truman, Benjamin Truman, David Lapham, Dan Braun, Doug Moench
    Artist: Timothy Truman, David Lapham, Lucas Marangon, Mike Vosburg
    Letters: Nate Piekos
    Publisher: Dark Horse
    Release Date: March 2011

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Jun 29th, 2011, 9:07 pm

Post rewarded by Ojay on Jun 30th, 2011, 9:29 am.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 30th, 2011, 9:59 am
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Title: Godzilla Kingdom Of Monsters (Click to go to the release post)
Writer(s): Eric Powell and Tracy Marsh (Click to see other books from this writer released on this site)
Review source: Tristan Jones (Don't click it, read the review here... ;) )

Review:
    The hype and anticipation of Godzilla's return to comics (along with the comic debut of the rest of Toho's menagerie of monsters) has been almost as big as the guy himself. The marketing campaign that accompanied this first issue alone has been one of the most exciting and also riskiest moves in comic book history - retailers were given the opportunity to sell exclusive variants featuring their store being trampled by Godzilla if they ordered 500 copies (Impact Comics in Canberra was the only one in Australia to participate) - and with The Goon's Eric Powell co-writing and IDW's increasing number of well produced licensed comics, it would be fair to have expectations set fairly high. The end result is disappointing, but not enough to make me write the series off yet.

    I'm going to tell you now that not a lot happens in this comic. Godzilla rocks up very early on and does what he does best – tramples Tokyo and gets fired at. That's pretty much it. The focus is mainly on Godzilla for the whole issue, with a couple of brief sequences detailing the Japanese and American governments responding to the crisis. From what I understand, this is going to be a maxi-series and I have a feeling that we're really only focusing on Godzilla because he'll end up being our anti-hero for the story, but I'm reviewing this as a single issue, and with that in mind it really isn't enough.

    Everyone knows Godzilla. Kids who haven't seen a Godzilla movie know who Godzilla is and what he does and admittedly, when you're watching a Godzilla movie, you're generally just waiting for the monsters to rock up and fuck shit up in a style only they are capable of but for some reason, in spite of the fact that we're basically jumping right to those moments, it just doesn't feel as substantial as it should.

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    This first issue is twenty two pages long – the size of a standard comic book these days – but you've read it in a matter of minutes, even if you stop to look at the art. As much as I love Godzilla and as forgiving as I am of the movies, I honestly feel that there's a substantial difference between the two mediums and that this didn't quite cut it. That's not saying that it won't as the story progresses, but again, as a single issue, it wasn't quite worth the cover price in my mind and a lot of that comes down to the fact that we're being shown things everyone already knows. Godzilla doesn't need a twenty-two page introduction; the people on the ground might if we were focusing on them a little more, but we aren't and again I'm torn over how to treat this as it says to me that bigger things are coming in the subsequent issues and that the focus will be on those, but there's still a nagging part of me that needed more to this issue than what there is.

    It's unclear to me at this stage what the tone of the book is as well. The dialogue pushes on terrible in a few places, but if it were in one of the films – particularly from the later Showa series, I probably wouldn't have a problem with it. A couple of lines, including one that's repeated a few times in the book, were almost cringe worthy, and not quite what I expected from the man behind The Goon. There's a distinct possibility (one that I am pretty sure will eventuate) that once the tone is set, none of what I've brought up as problems will matter anymore, but again, that lack of certainty isn't going to hold a lot of readers over to see if things do change. I can think of three people right now that likely won't see this through to issue two based on this issue, and I know there a lot of people out there more ruthless than them when it comes to comics.

    Phil Hester does a solid job on the art. It's not mind blowingly cool, and there are one or two odd moments here and there in terms of design choice but Hester's Godzilla does look pretty badass the whole way through. He manages to nail what I like to call "Godzilla moments" (even in non-Godzilla films or comics), where you see the monster at a distance and get a great idea of just how monstrous and afraid of this thing anyone should be. I think Hester is a great choice of artist (particularly after his great work on Robert Kirkman's shortlived Antman book), it's just that the lack of focus on anything right now besides Godzilla doesn't really give him a lot of room to shine yet, and one can't help but think of how this book might look if Eric Powell himself were on art duties and find themselves left wanting.
    As a Godzilla fan, I'm super excited that not only does the company that has done such great work recently with Jurassic Park, Ghostbusters, Transformers and so many other licenses has the rights to not only my second favourite giant monster (the top spot will always belong to the Stay Puft Marshmallow Man for me) but the rest of the Toho monsters as well; it's just a huge shame that this first issue was so lacklustre. I'm not going to write this one off yet though, as I have a feeling it's going to be a little like the '76 Kingswood I had as my first car - didn't get off to the best of starts, but once that thing was on the road and you had all your mates in there with you, it was an absolute blast!

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More info:
    Art: Phil Hester
    Writers: Eric Powell, Tracy Marsh

Publisher:
    Image

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Jun 30th, 2011, 9:59 am

Post rewarded by Ojay on Jul 4th, 2011, 2:38 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 30th, 2011, 12:48 pm
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Title: Danger Girl And The Army Of Darkness (Click to go to the release post)
Writer(s): Abdy Hartnell (Click to see other books from this writer released on this site)
Review source: Andrew Uys (Don't click it, read the review here... ;) )

" Danger Girl and the Army of Darkness is far from the best comic out on shelves these days."

Review: Danger Girl and the Army of Darkness #1
    Too often, when famous and successful franchises are mixed together for a crossover, you end up with a total disaster. Danger Girl and Army of Darkness manages, though not as well as the respective source materials, to be a fun, fast-paced, action-packed read!

    Danger Girl Image , created by J. Scott Campbell and Andy Hartnell in 1998, had a mind-blowing spectacular first mini-series. A large part of its appeal, apart from the Indiana Jones meets James Bond meets Playboy bunnies mash-up, was Campbell’s distinctive style of illustration.

    Subsequent volumes, while employing skilled creators like Phil Noto, have seen a decline in art. While not bad in and of itself, the pages just don’t match with the curvy, eye-popping work of J. Scott Campbell. This latest series suffers from the same problem. Written by co-creator Andy Hartnell, with good art by Chris Bolson; it is a worth reading, but falls short of matching its source-piration.

    Army of Darkness, the third movie in Sam Raimi’s Evil Dead series, is a total cult classic. Featuring Bruce Campbell (the actor and no relation to J. Scott Campbell that I know of), and some of the best dialogue a teenage boy can ever hope to hear, Army of Darkness has a special level of cheesy humor and horror that is rarely matched. No comic adaptation will ever be as great as the movie, but that doesn’t mean that they can’t be good either.

    Some have been good and some have been terrible. Still, the crossover volumes, which to date include Marvel Zombies vs. Army of Darkness, Jason vs. Freddy vs. Ash, and Army of Darkness/Xena: Why Not? There are many more, and they are mostly all fun reads. Again though, this new series will never capture the magic of that Raimi-Campbell-schlock-horror fun.

    All this said, and I still recommend reading this new mini-series. The first issue is largely set-up, but it does it well, delivering quick paced action sequences, and succinct character ‘bios’. Ash doesn’t appear till the last page, but the plotline that is bringing these two protagonists together is well grounded in both their unique ‘worlds’.

    Published by Dynamite, with IDW’s logo also on the cover – by J. Scott Campbell, but don’t let this fool you – Danger Girl and the Army of Darkness is far from the best comic out on shelves these days. But it isn’t the worst by far, and if you are a fan of either of these two characters, it’s definitely worth the read!

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More info:
    Written by Abdy Hartnell
    Art by CHRIS BOLSON
    Covers by J. SCOTT CAMPBELL , PAUL RENAUD, NICK BRADSHAW

Publisher:
    Image

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Jun 30th, 2011, 12:48 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:38 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 30th, 2011, 3:10 pm
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Title: Do Androids Dream of Electric Sheep?: Dust to Dust (Click to go to the release post)
Writer(s): Chris Roberson (Click to see other books from this writer released on this site)
Review source: Chad Nevett (Don't click it, read the review here... ;) )

Review:
    Do Androids Dream of Electric Sheep?: Dust to Dust #1 - With BOOM! Studios’ adaptation of Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?” reaching the halfway mark soon, they’re launching a prequel mini-series that takes place in the same world as the book, focusing on the aftermath of the war that poisoned the planet, causing people to move off world, killing most of the animals, and creating a purpose for androids to be built. Chris Roberson writes “Dust to Dust” and does a good job of capturing the tone of Dick’s world, while also adding his own elements, including some references to contemporary technology like Twitter.

    The main plot of the issue focuses on Charlie Victor, an android hunter, who recruits Malcolm Reed, a man who isn’t the same as anyone else. Victor’s narration introduces us to his world and Reed, and it’s not quite like Dick’s writing, but it has a somewhat flat-yet-slightly-melodramatic feel that’s alluring. Roberson seems to be going for a detective tone that suits the character, albeit very distant and emotionally flat. Victor’s narration of Reed’s lifestyle is purposefully misleading, making us think that he’s the android Victor is hunting and winds up revealing more about Victor than Reed.

    The other part of the issue is focused on Samantha Wu, a researcher working on saving not just the remaining animals but all life on the planet from radiation poisoning. This part of the issue isn’t quite as interesting or compelling, providing a lot of background on the world, which is helpful but not essential given the audience for this book probably knows most of this. These scenes are serviceable and set up what will no doubt be an interesting subplot, but drag the issue down somewhat.

    Robert Adler’s art is impressive. He has a clean style with some rough edges that suits the writing and alters his style for each character. Samantha is done in a minimalist, cartoony style, while Reed is sketchier and rougher, looking somewhat inhuman and off-balanced with Victor falling between the two characters. Adler doesn’t do many novel or experimental things with his art, focusing on presenting the story as clearly and cleanly as possible, which is how the writing is. That matter of fact unity between the art and writing gives the comic a good sense of cohesion.

    “Dust to Dust” #1 doesn’t do anything dramatically different or wild with the world of “Do Androids Dream of Electric Sheep? Image ” but it introduces some key elements of the world and a similar plot of hunting down rogue androids. The hunters, though, are definitely unique and provide a window into the world that hasn’t been seen yet. Fans of Dick’s work should enjoy this expansion of the novel.

    Do Androids Dream of Electric Sheep?: Dust to Dust #8 - When I heard about a prequel series to Philip K. Dick’s “Do Androids Dream of Electric Sheep?” I rolled my eyes and told myself I’d check out the first issue to see how awful it would be. Do I feel a judgmental idiot now... “Dust to Dust” has told an entertaining and interesting story within the world of Dick’s novel without redefining that world or simply repeating what Dick wrote. It fits into that world, expanding upon it, without creating an internal conflict or departure from what made the book so interesting. Roberson writes a story that provides a different take on the androids in this world, while fitting it into a familiar story.

    The android-hunting android Charlie Victor finally comes face to face with his prey in a situation where he’s outnumbered and responsible for human lives that his fellow androids want to kill. Since the rogue androids have put into place a plan to kill everyone in the city with the goal of, then, moving onto another city, the manner in which Victor stops them is surprising and a definite case of lateral thinking. It’s not a solution that seems immediately obvious until it happens. As is the manner in which Victor gains the upper hand: by giving the ‘leader’ (as there are no leaders in the group) of the androids feelings through an EMP to the skull.

    The series has revolved around emotions and, through Malcolm Reed, we’ve seen how powerful and painful they can be. That Victor uses emotions as a weapon is a natural extension of ideas raised already in the story. If emotions set humans apart from androids and emotions make humans weak, what better weapon to use against androids?

    Robert Adler has been a revelation in this series, delivering bold and energetic art with scratchy lines and a strong control. Sometimes, artists who use a rougher, sketchier style seem to do so with abandon, just tossing lines on the page, hoping they add up to something, but Adler keeps his lines restrained to a degree. They have a loose quality and serve the story and aesthetics all at the same time.

    If he has a weakness, it’s his inability to depict visual emotions well. He doesn’t present the emotive qualities of faces with any nuance or subtlety, it’s all over-the-top. While that makes sense for Reed or the android given emotions as each are overwhelmed by emotion, for the other characters, it comes off as a bit abrasive.

    Fans of Dick’s novel should definitely track down “Dust to Dust,” a story that fits into that world perfectly and delivers a strong, surprising conclusion with this issue. Personally, I’d like to see Roberson return to the surviving characters, especially Reed, that’s how much I liked this series.

More info:
    Story by Chris Roberson
    Art by Robert Adler
    Colors by Andres Lozano, Javier Suppa
    Letters by Jimmy Betancourt
    Cover by Trevor Hairsine, Benjamin Carré, Julia Totino Tedesco
    Publisher Boom! Studios

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Jun 30th, 2011, 3:10 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:38 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 30th, 2011, 3:25 pm
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Title: iZombie (Click to go to the release post)
Writer(s): Chris Roberson (Click to see other books from this writer released on this site)
Review source: Emma Coverdale (Don't click it, read the review here... ;) )

Review:
    I have to admit that I’ve been totally into the zombie theme since The Walking Dead first found its way in comic book stores so as a result I had found myself looking forward to the iZombie series from the very beginning since it’s definitely a fascinating and unique kind of zombie story. For those who missed it the first time around, iZombie: Dead to the World covers the first five issues and makes this the perfect opportunity to meet an interesting cast of supernatural characters.

    Dead to the World introduces us to Gwen Dylan, a beautiful pale young woman who paints and has a list of things she hates that’s much longer than the list of things she likes as well as possesses a witty charm. When we first see her, she’s out trick-or-treating as Shaun from the movie “Shaun of the Dead” along with her two best friends. Sure, she didn’t want to go but stopping by a strange house she finds that the man wrapped in bandages is quick to get them out of his front door.

    Oh but that’s not the only strange thing going on here because Gwen and her friends are not exactly normal either. You see, her best buddy, Spot, changes during the full moon into a – ahem – Were-Terrier. Then there’s Elle, a beautiful blonde whose outfits cry 1960s … which might very well be the era when she died. Elle, you see, is a ghost. Then there’s Gwen who isn’t exactly alive either because she happens to be one of the walking dead. Sure, she’s not one of those foot-dragging, drooling creatures but if she doesn’t eat a human brain once a month she will turn into one of those decomposing and incoherent freaks.

    Therefore, it makes perfect sense that Gwen works with a grave digging crew in the local cemetery in Oregon. It gives her the perfect opportunity to dig up the deceased and devour their brains (which she says tastes even more horrible than we can imagine) but with each meal comes not only flashback memories of the deceased but also their voices that cry out for her to carry out their unfinished business.

    When she ends up snacking on the brain of a dead family man she just recently helped bury, his memories point to murder and the dead guy wants vengeance. Along with Spot and Elle, Gwen starts looking into the mystery that points to a mystery redhead that isn’t the dead man’s wife. Meanwhile, another supernatural element is afoot in Eugene and that is a group of hot vampire women who are feeding off lonely men (in a non-lethal manner) and making a profit while they’re at it. Unfortunately, one of them is going off the reservation an killing her prey and the group’s leader is super pissed off.

    Then there’s the hot Horatio and his partner, Diogenes, are a part of an ancient order calling themselves the Corporation that specializes in hunting monsters of all kinds and now they are here to wipe out these vampires. While Diogenes is all-business and the veteran monster hunter, Horatio is no slouch either although he’s not quite by-the-book. Nursing a broken heart, Horatio runs into Gwen who is immediately smitten by the guy as well.

    In the meantime, Gwen and her friends continue to unravel the mystery of her dead meal’s memories. Said memories lead them to the same house they stopped by during Halloween with the man in bandages. Elle, being a ghost, enters the house but doesn’t come back. When Gwen comes in to find her friend, she encounters the man who turns out to be a mummy who also knows exactly what they of zombie Gwen is as he shows her via his power.

    I won’t spoil things by saying more since the final chapter of this graphic novel reveals a lot but I will say that it also touches on the Gwen-Horatio relationship that develops early. Just as things seem to go smoothly for our girl, she finds out Horatio works for the Corporation and with her being a monster the relationship will surely get complicated.

    Chris Roberson is an excellent writer and handles the dialogue perfectly but one of my original complaints about the series still sticks. The first five issues of this series served more like setup for the events to come as well as introduction to the cast of colorful characters. I love the fact that spot isn’t a werewolf and I love that Elle’s attention span as well as her ignorance of modern things makes her actually believable. Best yet, however, is Gwen who is one of my favorite female lead characters in a comic book so far.

    There’s also Michael Allred’s art, which has always been amazing and even more so when implemented just right. Allred’s art finds a good home here in iZombie as the characters and backgrounds look spectacular so the visuals are quite impressive.

    What we have in iZombie: Dead to the World is a worthwhile graphic novel that serves as the perfect starting point for anyone looking for a unique comic book series with a tongue-in-cheek supernatural twist. Filled with great characters, fun story and amazing art, the iZombie series is a good read that we highly recommend. While this isn’t exactly the perfect beginning, give this one a shot and you will not be disappointed, I promise you that.

    COMIC REVOLUTION RATING BREAKDOWN

    STORY: B+
    On the surface, Gwen is a modern girl with a scornful view of the world around her and who can blame her since she also happens to be a different kind of walking dead. Along with her friends, a cute behind-the-times ghost and a likeable Were-Terrier, Gwen finds herself in the middle of a mystery involving an Egyptian mummy, an ancient monster-hunting order and a coven of really bitchy vampire babes. Oh yeah, she also has to eat brains that leave a most unusual aftertaste.

    ART: A
    You just have to love Michael Allred’s pop art work that makes everything he’s worked on look so interesting and even more so in iZombie. His characters are just so stunning that you will find yourself loving every panel in this book.

    OVERALL: B+
    Serving more as an introduction to this entertaining series, iZombie: Dead to the World is the best starting point for those who always wanted to jump into the series. Sure, the first five issues this graphic novel covers takes a long while to get to the point but you’ll find yourself so involved with the characters that you might not mind it at all. Trust me when I say that iZombie is definitely worth a look.

More info:
    Publisher: Vertigo (DC Comics)
    Writer: Chris Roberson
    Artist: Michael Allred
    Genre: Graphic Novel
    Release Date: March 16, 2011

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Jun 30th, 2011, 3:25 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:38 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jun 30th, 2011, 5:12 pm
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Title: Do Androids Dream of Electric Sheep? (Click to go to the release post)
Writer(s): Philip K. Dick (Click to see other books from this writer released on this site)
Review source: Chad Nevett (Don't click it, read the review here... ;) )

Review: Do Androids Dream of Electric Sheep? #1
    “Still, you wouldn’t want to see my novel on the screen because it is full of people conversing, plus the personal problems of the protagonist. These matters don’t translate to the screen. And why translate them, since a novel is a story in words, whereas a movie is an event that moves?” Philip K. Dick wrote that in 1981, discussing his novel “Do Androids Dream of Electric Sheep?” and the film adaptation “Blade Runner,” which merely used Dick’s novel as a jumping off point for a related-yet-entirely-different tale.

    This quote serves two purposes: to provide a warning that fans of “Blade Runner” will be in for a shock (and a treat) with BOOM!’s adaptation of “Do Androids Dream of Electric Sheep?” since the two works are quite distinct. The second is to hint at the idea that a comic adaptation of Dick’s novel is fraught with difficulties right from the beginning since comics, as a medium, exist somewhere between prose and film, and, as a result, certain compromises must be made despite the presentation of Dick’s text unedited.

    With prose, how characters and the world they inhabit look is left exclusively up to the reader, each interpreting it differently, and having an artist attempt to visualize every scene -- every sentence even! -— of a novel is going to create a tension between the adaptation and the reader no matter how talented the artist in question is. As well, having the art right next to the text will shape how the reader visualizes the text, the art acting as an influence to how the prose is received. Even though BOOM! hasn’t changed or omitted a single word from Dick’s novel, this is a very different experience from reading the novel.

    That said, what a wonderful idea and fantastic way to introduce the work of Philip K. Dick to new readers. With the huge influence Dick has had on sci-fi and comics, his work should be mandatory reading for anyone who regularly engages either. No doubt most have seen at least one of the film adaptations of his prose, but his ideas have shaped so much of what’s followed with top writers like Warren Ellis, Ed Brubaker, and Grant Morrison indebted to Dick. So, now you have no excuse, because BOOM! is putting Dick’s work in comic shops this week.

    Choosing to present “Do Androids Dream of Electric Sheep?” in its completeness is a bold decision and, no doubt, some will find it a bit cumbersome. In the first issue, the first two chapters plus the beginning of the third are presented in their entirety. This also means that word balloons are sometimes broken up by ‘he said’ captions, which takes a little getting used to. Needless to say, this is a text-heavy comic, but at least you won’t be complaining that it only takes you three minutes to read it. The opening pages provide a good idea of what the comic is like.

    This issue introduces the main characters and concepts of the novel, beginning with Rick Deckard and his wife as they begin their day with a disagreement. Where it gets interesting is how they threaten to escalate it by turning the dials on their mood-alterers to stronger emotions. Dick introduces this concept through a couple’s argument seamlessly and, then, uses that to engage the larger world, which is post-fallout with the majority of humanity emigrated off Earth. Taking care of an animal is an important cultural element in this society, as is an empathic religion known as Mercerism.

    Dick throws a lot of information out in these opening chapters, but none of it seems forced or heavy-handed. He understands the need to build the world for the reader as quickly as possible and does so admirably. BOOM!’s decision to end the issue shortly into the beginning of chapter three of the novel is very effective since it ends in the middle of action, teasing Deckard’s job as a bounty hunter who specializes in androids.

    Artist Tony Parker does a solid job, for the most part. He’s given the difficult, unenviable job of turning every part of Dick’s writing into art —- and to do so without copying the distinct visuals of “Blade Runner.” In that respect, he succeeds, going for a much bleaker and drabber world. One of grays and browns rather than nighttime and rain. His Deckard looks more average and down-on-his-luck than Harrison Ford, but also looks like a man able to hunt down androids.

    In a few instances, though, Parker runs into trouble as his art directly contradicts the prose he’s adapting. Dick describes Deckard’s wife as wearing a long robe that trails behind her, but we get a robe that doesn’t even reach her knees in typical comic book cheesecake style. Or, the change from Mercer’s climb up a hill to a steep, rocky cliff. It’s a little jarring.

    All in all, this is an experiment that works and also contains a fabulous essay by Warren Ellis that introduces Philip K. Dick in a broader way. All in all, a great package ideal for newcomers and fans alike.

More info:
    Story by Philip K. Dick
    Art by Tony Parker
    Colors by Blond
    Letters by Richard Starkings, Jimmy Betancourt
    Cover by Dennis Calero, Bill Sienkiewicz, Scott Keating, Moritat [more...]

Publisher:
    Image


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Jun 30th, 2011, 5:12 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
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Jun 30th, 2011, 7:09 pm
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Title: Undying Love (Click to go to the release post)
Writer(s): Tomm Coker and Daniel Freedman (Click to see other books from this writer released on this site)
Review source: Jorge Solis (Don't click it, read the review here... ;) )

Review:
    UNDYING LOVE #1 (Image Comics) gradually builds an action-packed premise with its tough-guy protagonist. Ex-soldier John Sargent is focused solely on his never-ending kill spree. He loads his guns and fills his gas tank, leaving a trail of dead bodies all in the search of a master vampire. Nothing is going to stop Sargent from chopping the head off of the bloodsucker, who turned his girlfriend into a vampire.

    Sargent and girlfriend Mei never seem to catch a break during their fugitive run. Hundreds of armored assassins are hunting them down wherever they go. Even if they successfully manage to escape this time, the couple will never be at peace for as long as they live. These well-trained assassins have made an oath and will never stop chasing after them, because Mei is a vampire. Though he is exhausted and low on bullets, John will do anything he can to stop them from plunging a wooden stake into her heart.

    To protect the rest of humanity, Sargent has to keep his vampire squeeze locked up in her room. He carefully boards up the windows, preventing any sunlight from entering. Because Mei refuses to drink blood anymore, her body achingly starves for nourishment. She will not be able to survive much longer if her addiction isn’t routinely feed. In hopes of setting her free from her curse, John seeks the advice of a wise man, who is thousands of years old.

    The process to save his lady’s soul is a tremendous obstacle. In his journey, John has to find Mei’s sire. Her diabolical maker has actually sent more souls to hell than Death himself. To find the cure, John has to rip out the bloodsucker’s heart and burn the blood-pumping organ to ash. In the final step, John’s girlfriend has to ingest the charred ashes to become fully human again.

    The writing and art duo of Tomm Coker and Daniel Freedman is very hard-edged with tough-guy dialogue. Their sense of dark humor shows up unexpectedly, easing the tension along the way. At the climax, the droll banter between the immortal and John is a perfect model of drama and satire. Though this issue is filled with guns and monsters, the theme is really about two people overcoming extraordinary odds to stay together.

    The artwork has a gritty vibe that plays off of the low-key lighting and long-stretching shadows. Surprisingly, the illustrations focus heavily on the boyish exterior of the immortal. This eternal being may have the body of an innocent child, but the facial features display an older person. Readers can see the layers of detail in the close-ups of the facial construction.

    UNDYING LOVE #1 starts out strongly enough in this eight-issue miniseries. Those expecting lean and mean vampire action will have to wait for the second issue. Comic book fans will surely find an enjoyable mixed bag of action, romance and horror. It’s available next week; don’t miss out on all the blood and fangs!

More info:
    Writers: Tomm Coker and Daniel Freedman
    Art: Tomm Coker
    Colors: Daniel Freedman
    Letters: Michael David Thomas
    Publisher: Image Comics. 2011

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Jun 30th, 2011, 7:09 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
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Jul 1st, 2011, 7:36 am
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Title: Burn Notice (Click to go to the release post)
Writer(s): Ryan Johnson (Click to see other books from this writer released on this site)
Review source: Tom Maurstad (Don't click it, read the review here... ;) )

Review:
    USA Network bridges the gap between last season of "Burn Notice" and the one just begun with a digital interactive graphic novel produced in conjunction with DC Comics. "Burn Notice" stars Jeffrey Donovan (above).

    Like some sort of New Deal work program, television these days is all about building bridges. With so much competition for viewers’ attention, networks are eagerly/desperately seeking new ways to bridge gaps.

    They want to bridge the gap between one season of a show and the next, when restless viewers might just move on to something else and never come back. They want to bridge the gap between television and this thing called the Internet where more and more people, especially advertiser-attracting young people, are spending the time previous generations spent watching television.

    Apps are becoming an important way to enmesh viewers with their favorite programs and extend the networks’ brands into the digital marketplace. The latest example is a new “digital interactive graphic novel” from USA Network dedicated to its hit series Burn Notice . Working in partnership with DC Comics, the first series, A New Day, bridges the gap between season four and season five, which just began.

    At the end of season four, banished super-spy Michael Westen (Jeffrey Donovan) finally had a list of the names of 31 people involved in the scheme that led to him being “burned” by the CIA. When season five began, only two names are left. A New Day tells the story of what happened in between and what became of all those other names.

    The artwork and dialogue are classic comic-book panel storytelling. As anyone who’s made the digital jump knows, comic books look and work great in the electronic world. The Burn Notice graphic novel is also designed to include opportunities for more interactive exploration — games to play, ciphers to decode and behind-the-scenes “peel-aways” that will reveal how a real-life TV show becomes a digital comic book.

    Unfortunately, this is so new that it’s not all up and running. Currently, A New Day is only available on the USA Network website and its Facebook page. But app versions for both Apple and Android mobile devices are coming soon. That’s the thing about the future: Sometimes tomorrow isn’t quite ready in time for today.Burn Notice: A New DayAvailable at USAnetwork.com and apps.facebook.com/bnanewday; free.

    Verdict: Nice art and good story trump gimmickry

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More info:
    Writer: Ryan Johnson
    Script coordinator: Peter Laylaynis
    Art: Tony Shasteen
    Creator: Matt Nix

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Jul 1st, 2011, 7:36 am

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
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Jul 1st, 2011, 8:12 am
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Title: Hannibal Meriadec And The Tears Of Odin (Click to go to the release post)
Writer(s): Jean-Luc Istin (Click to see other books from this writer released on this site)
Review source: DAVID STEENHUYSE (Don't click it, read the review here... ;) )

Review:
    New talent.

    As Okko few years ago appeared from nowhere and immediately became a success, it also happened - although to a lesser extent - to the pirate fantasy series Dragon's Blood. Appreciation for the series is quite large. We have good news: we find the prequel Hannibal Mériadec cycle and the Tears of Odin even better.

    In this cycle we experience the adventures of a young pirate version of Hannibal. The whole story is focused on the connection he makes with the gorgeous, Egyptian slave girl Selina, whom he wants to conquer at any cost despite the villainous de la Cuervas. You should not be surprised that the latter doesn't let this happen like that. Five years later, Hannibal's great love Selina hides her face behind a mask and the master has just lost a popular sailor. But he's now on the trail of a manuscript that belonged to his ancestors. This is a huge treasure in the offing. Again Hannibal's men will follow him, despite heavy weather and to be feared opponents on their route.

    Artist Stephane Crety does a wonderful job, compared to the main Dragon series drawn by Guy Michel... or rather signed for after the Haitian stopped after part 4 with the series. Screenwriter Jean-Luc Istin then asked Crety to draw both series now. With great panache he brings chopping and fighting pirates and soldiers in the picture, and doesn't fear to draw two shipd colliding in a storm. The details are richly arranged, but everything is very clear sign of style. His brush line is elegantly and decisively. A new talent is discovered! And the story of Istin is well again, yes.

    (Translated from Dutch)

More info:
    Scenario Jean-Luc Istin
    Tekeningen Stephane Crety
    Kleuren Sandrine Cordurié
    Cover Joël Mouclier
    Uitgever(s) Silvester

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Jul 1st, 2011, 8:12 am

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
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Jul 1st, 2011, 2:17 pm
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Title: Weird Worlds (Click to go to the release post)
Writer(s): Kevin Vanhook (Click to see other books from this writer released on this site)
Review source: Jesse Schedeen (Don't click it, read the review here... ;) )

Review: Weird Worlds #1
    DC may be all about "holding the line at $2.99" this year, but there are still a few books that are content to charge more money for more content. Weird Worlds is a new anthology mini-series that definitely plays up the "weird" portion of this title. Three story segments feature three heroes who are alternately weird, wacky, and just plain gross. As a whole this issue is fairly uneven, but it does offer a little something for weird lovers of all types.

    The first segment features everyone's favorite Czarnin badass, Lobo. Lobo seems to have finally met a foe too tough even for him, but appearances can be deceiving. Kevin Van Hook's script is predictable but full of all that classic Lobo charm. Jerry Ordway's inclusion as artist is a bit bizarre. Lobo is such a blatant parody of all the extreme heroes of the '80s and '90s that it's odd to see him illustrated in such a calm, retro style.

    The next segment, written and drawn by Aaron Lopresti, features an original creation named Garbageman. Garbageman is very much a child of the Swamp Thing and Man-Thing school of horror storytelling, with a dash of Toxic Avenger thrown n for good measure. Thanks in no small part to Dave McCaig's lavish colors, this segment offers an attractive visual throwback to classic Swamp Thing stories. As a character, Garbageman doesn't really stand out, though. This story is simply too overwritten, with both the hero and villain speaking or thinking far more than is necessary to move the plot forward.

    The most well-rounded tale of the bunch features Kevin Maguire's new creation, the space-borne heroine Tanga. Here too is a character that talks too damn much, but at least in Tanga's case the story calls for such an approach. The tale offers Maguire plenty of room to exercise his talent for expressive character work. And though the actual plot is sparse, this is the one story that truly left me wanting to know what happens next. Mainly for that Tanga, I look forward to the release of Weird Worlds #2.

More info:
    Writer: Kevin Vanhook
    Art: Jerry Oroway
    Color: Pete Pantazis
    Letters: Jarrid K. Fletcher

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Jul 1st, 2011, 2:17 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
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Jul 2nd, 2011, 5:26 am
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Title: Wonderland Annual 2011 (Click to go to the release post)
Writer(s): Ralph Tedesco (Click to see other books from this writer released on this site)
Review source: Eric (Don't click it, read the review here... ;) )

Review:
    When a group of teens become the latest victims of the House of Liddle, a brilliant young boy will make it his personal mission to insure that the house never hurts anyone else again. But does the boy have what it takes to stop the house where madness lives and no one gets out alive? Don’t miss this final chapter of the House of Liddle!

    Well, I very much doubt this is the last time Zene-fans will see the House of Liddle… at least I hope so. The series of Wonderland Annuals, while originally seen to support the underpinnings of the original Wonderland mini, have evolved into a fantastic venue for the story-tellers at Zenescope to present some shorter one-shot stories that aren’t necessarily pivotal in the bigger Zene-story arcs, but are enjoyable to the horror fan all the same.

    This ish starts off with the premise that most comic readers have heard before – a coed group of uppity, sassy young adult teen types who have their minds in the gutter think they will enhance their evening of debauchery by partying in a real haunted house. While, I’m not saying that idea will always end in tragedy – in most horror tales it will, especially if the house they pick happens to be under the domain of Wonderland’s own maniacal bad boy Johnny (the Mad Hatter). While this is a plot that most have driven down before, Mr. Tedesco and his creative team put a fresh set of tires on it (mostly through the personality, taunting and methodology of the sociopathic Hatter) and made it enjoyable.

    While it is a “Wonderland” Annual and certainly does tie-in to the overall Zene-saga – giving some back ground with the house’s history, Johnny, the Liddle family, etc. – This easily can be read as a stand alone. Without hesitation, I think a book like this shows that Zenescope could pull off a monthly horror anthology under the “Wonderland” brand.

    This is a great horror short story and would be enjoyed by anyone who enjoys a little scare and likes a little sweat down their back.

    The Bottom line: Another fantastic tale from Zenescope – reminding me of a modern version of the iconic “Tales From the Crypt”

More info:
    Writer: Tedesco
    Artist: Gregory, Sean Chen

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Jul 2nd, 2011, 5:26 am

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jul 2nd, 2011, 11:54 am
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Title: Abiding Perdition (Click to go to the release post)
Writer(s): Nick Schley (Click to see other books from this writer released on this site)
Review source: Caryn A. Tate (Don't click it, read the review here... ;) )

Review:
    I thought about giving ths trade a more positive review simply because of the art, because it’s very good. But unfortunately, even their art couldn’t make up for the things I didn’t like.

    Let me clarify. It’s not that this is necessarily the worst comic I’ve ever read, but something completely unusual happened as I began to read this trade. I could not read every word in the book. I began by reading word for word, as I normally do, but it quickly became impossible. I had to start to skim the book when I could no longer look past the awkward, juvenile dialogue or the editing errors. There are many instances of incomplete sentences, missing or incorrect punctuation, and emphasis being placed on the incorrect word; but more important and more glaring than the editing errors, the dialogue and the script itself were weak. I don’t believe there was one instance of dialogue in this book where it is delivered the way that people really speak. When I say it is awkward, it is exactly that—it stumbles rather than flows. Often, the words don’t really seem to fit together in a sentence, much less in a phrase spoken aloud.

    The story is essentially a re-imagining of Little Red Riding Hood. It is set in a fantasy world, and our main protagonist is Red, of course, and her adoptive father, Bjor. As a child, Red’s grandmother was killed by the antagonist, the wolf (here known as De’grey), and Red was found by Bjor. Now that she’s an adult, Red is set on slaying the evil wolf. Bjor refuses to let her go after the wolf alone, and they set out together to kill De’grey.

    Not a bad premise to the storyline, if it had only been executed in a better way. The script is often odd, with strange responses from the characters to stimuli or to each other. At one point, Red is speaking to two children and telling them the story of when she ran from De’grey as a child and met Bjor. When one child responds in a way that shows he didn’t grasp Red’s point of the story, she responds with an angry outburst. It was startling and confusing. Why was she so angry—at a child, no less? Are we supposed to like a character that, for no apparent reason, yells at a confused child? Once I began to skim the trade (well, let’s call it what it really is—looking at the art), I followed the storyline just fine that way.

    Speaking of the art, the pencils are energetic and clean-lined, with an animated style. It effectively displays the action as it takes place, and the emotions that each character is experiencing. If it weren’t for the talent on the art in this book, I’m not entirely sure I could have followed the story. The colors are rich and full, reminding me at times of different animated films that efficiently deal with color and the influence that it can have on the audience’s perception of the art and the story itself. The inks are also intense, in a similar way that the colors are, in that they really help to focus the eye on what is important in a panel and to complete that animated style. All of the artists on this book were a good fit.

    I can’t say that I will ever pick up Abiding Perdition again. I won’t. But, I may just pick up a copy on the shelf to look at the art, and I will definitely remember the artists’ names from this book to check out other comics they may work on in the future.

More info:
    Writer: Nick Schley
    Artists: Pedro Delgado, Carlos Gomez
    Pencils: Filipe Aguiar
    Page layouts-issue #4: Adam Frizzell
    Colors: Bob Pedroza
    Publisher: Markosia

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Jul 2nd, 2011, 11:54 am

Post rewarded by Ojay on Jul 4th, 2011, 2:39 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks
Jul 2nd, 2011, 1:57 pm
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Title: Absolute Watchmen (Click to go to the release post)
Writer(s): Alan Moore (Click to see other books from this writer released on this site)
Review source: Hilary Goldstein (Review 1) and Brendan Wolfe (Review 2) (Don't click it, read the review here... ;) )

Review:
    Review 1 - The greatest comic-book ever written has been made even better.

    No comic book has been the subject of more essays and serious literary discussion than Alan Moore and Dave Gibbons' Watchmen. It has been named one of the 100 greatest novels of the past century by Time Magazine. Released 20 years ago, the 12-issue maxi-series was a groundbreaking achievement for comics. Written "for adults," Watchmen opened the doors for thought-provoking and intelligent comics in the mainstream. Two decades after its arrival, there is still no greater comic book.

    In honor of the 20-year anniversary, DC Comics released a $75 oversized hardcover, Absolute Watchmen. For the first time, the series can be enjoyed at a considerably larger size and with completely re-mastered color. Few would argue the brilliance of Moore's book, but get this -- the Absolute Edition makes this epic tale even better. That's right, the story lauded by critics and loved by fans is now more powerful than any version you have previously read.

    The bigger size is certainly a plus and the 50 pages of supplemental material is an excellent bonus. It's almost disquieting to see Moore's page-long descriptions for each panel in his script excerpts. But these bonuses are not what make the new edition the true Absolute. Wildstorm FX and original series colorist John Higgins re-mastered the color for the new hardcover. While it may not be obvious to the casual reader, the new coloring makes a surprising difference.

    Compared to the standard softcover edition that has been floating around for a decade, the new colors allow for greater contrast. The color tone has been adjusted on almost every panel and some background colors have actually changed completely. While Gibbons' art has always translated Moore's emotional sentiment, the re-mastered colors make this all the more powerful. The final issue begins with six one-panel pages, which were shocking even back in 1985. Now, on a bigger scale and with adjusted colors, the six silent pages are explosive. The story builds to this moment and more so than in previous printings, this climactic scene reverberates with power.

    Moore's tale of a world without heroes is eerily relevant to today's America. Set in 1985, eight years after costumed vigilantes were outlawed, Watchmen is part murder mystery, part political drama. When America's only regulated super-being, the god-like Dr. Manhattan, decides to leave Earth, Russia begins a series of bold moves that could lead to nuclear proliferation. While the world at large is facing crisis, someone has begun killing the retired costumed heroes of America. A few of the old guard begin an investigation, one that leads to a shocking revelation and an unexpected finale.

    In Watchmen, Moore shows us a world that has gone completely mad. Not only is the escalation of Cold War hostilities and the idea of nuclear annihilation insane, but the characters driving this tale are all touched with madness. Nixon, the perfect mixture of power and paranoia, has managed to remain President through the '80s. Everyone's favorite hero, Rorschach, is a violent, delusional sociopath. Even the pragmatic Dr. Manhattan cannot escape the manic nature of the human condition. It's a mad, mad, mad, mad world and Moore depicts its darkest corners.

    Watchmen is the greatest display of Alan Moore's gift for juxtaposition. Employing parallel storytelling, often through a kid reading an old swashbuckler comic book, Moore manipulates the emotional pitch of Watchmen. A great deal of time is devoted to the common man on one specific street corner. It seems, at times, almost like a waste, distracting from the murder-mystery plot. The relevancy of one street corner, of the lives of a handful of New Yorkers, becomes tragically clear in the final two issues. Much like D.M. Thomas' novel, The White Hotel, Watchmen illuminates the ordinary lives of a few so that we can understand the tragedy that strikes the millions of others just like them.

    As much as the story of Watchmen shaped the future of comics, Dave Gibbons' art altered the way people viewed the graphic medium. Gibbons isn't afraid to leave central characters off-panel or focus on an object in the foreground, making the speaking characters visually obsolete. There's little action in Watchmen, a story that runs more than 350 pages, so Gibbons uses cinematic tricks to keep our focus through pages upon pages of dialogue. My favorite is a short scene between Nite-Owl and Silk Spectre, where the two are pushed to the edges of the panel and we watch their conversation unfold in the mirror behind them. Gibbons' art is the perfect compliment to Moore's words. It's hard to imagine Watchmen with different partners.

    Much smarter folks than myself have provided in-depth analysis of Watchmen over the years. I won't even try and plunge into the depths of this major work. Suffice to say it's quite a dense read and not the kind of book you pick up for a fun time. This is my fifth or sixth reading of Watchmen and I've found that each time I read through this book, I discover something new. Now with the Absolute edition, I've gained an even greater sense of Moore's story. This is a masterpiece. One that has inspired just about every writer since its release. Just as Citizen Kane was the father of modern cinema, the techniques in Watchmen can be seen in dozens of comics on the rack today. Still, after 20 years, no other work comes anywhere close to Watchmen. It remains the best comic-book of all time and the new hardcover is easily the best collection ever released.


    Review 2 - Who's watching Watchmen? Everybody apparently. This book -- or comic book, or graphic novel, or whatever you want to call it -- has been picked apart endlessly in the 20 years since it was first published. Every frame has been microscopically studied, its plot, characters and symbols charted out no less elaborately than Ulysses'. Its fans, like fans of everything else, are intensely protective and argumentative. Reading a book like this now, for the first time, is likely to result less in actual criticism than in intellectual alignment. What can be said has likely been said; the issue now is with whom do you agree.

    So on the occasion of DC Comics' Absolute Watchmen, a beautifully re-mastered anniversary edition with hard-to-find scripts from writer Alan Moore and sketches from artist Dave Gibbons, I'll agree with everybody and nobody, the geeks and the eye-rollers both. You say I contradict myself? Very well then, but Watchmen contains multitudes: It's big and important and brilliant and insufferable. It's mythic; it's gritty. It's awesome and it's dumb. In its pages are heroes, anti-heroes and giant, blue-peckered superheroes. There are aliens, street-fighting lesbians and pirates. There are ambiguously evil geniuses and average New Yorkers. When its violence isn't intimate, it's global. When the sex isn't tender, it's dirty. Watchmen's story is part whodunit, part philosophical tract, its writing fierce and groundbreaking, pinched and pedantic. The art is always stiff and always utterly appropriate.

    Watchmen is everything. At times it's even boring.

    Although proclaimed a seminal graphic novel, Watchmen hardly settles the argument of what a graphic novel is. It's just the first. Or, along with Will Eisner's The Contract with God Trilogy, Frank Miller's Batman: The Dark Knight Returns and Art Spiegelman's Maus, one of the first. Or if not the first then the best. It depends on who you ask (Time magazine weighed in recently by naming it one of the top 100 novels of the century). Perhaps "graphic novel" is simply the label of choice for those who'd rather not be caught reading comics. Or maybe it's a nod to the modern novel's affinity for anti-heroes. Leopold Bloom, meet Dan Dreiberg & His Spare Tire.

    Dreiberg, by the way, is not everything so much as nothing. He is not a superhero with super powers, but neither is he like you and me. He's post-superhero: Since the government outlawed masked crime fighters, his Nite Owl costume has been tucked away in the closet, his wicked-cool hover craft collecting dust in the basement. A little extra weight has sapped his confidence, leaving him to covet from afar Dr. Manhattan's curvy girlfriend Laurie. Now there's a superhero! Dr. Manhattan stands outside of time. The victim of a nuclear accident, he can walk on water or through walls; in a fit of pique, he can even flee to Mars and sulk. The story begins, though, with trench-coated Rorschach -- monosyllabic, probably mentally ill -- and his hunch that someone is gunning for the masked ones. While right and wrong forever shifts around him, Rorschach, ironically, is the one who stays constant. He is Watchmen's terrible conscience.

    The plot is complex and hyper-allusive. There's the main narrative, multiple back-narratives, as well as an alternate history that plays out in the background art. There are representations and parodies of all kinds of media: comics, newspapers, television, advertisements, magazine articles, etc. There are endless references to recent American history, antiquity, philosophy, poetry, popular music, other comic books, Watchmen itself...

    Writes Tom Shone in Slate: "Whether you take this self-reflexivity as evidence of a newfound sophistication on behalf of the comic book, or as self-hatred tricked out as superiority -- that old adolescent standby -- is up to you."

    Writes Tim Cavanaugh for Reason.com: "Tom Shone is a douche."

    Meanwhile, the comic's various symbols -- watches and time pieces, pyramids and triangles, the famous blood-spattered smiley face, masks, ink blots, birds and butterflies, atoms, perfume, knots, mirrors and reflections, et so many alia -- seem to be almost competitively unsubtle. Pyramid Deliveries. Prometheus Cab Company. Gordian Knot Lock Co. Nostalgia Perfume. Utopia Theater.

    Some plot elements seem entirely gratuitous and a step too clever. The pirate comic-book-within-the-comic-book is first on the list. That pirates have replaced superheroes as the subjects of comic books suggests that the Watchmen world is perhaps darker and less idealistic than our own. (At least it's darker than the time when superheroes dominated the comics. What, though, of a world where comics like Watchmen dominate the comics?) But Moore overplays his hand, introducing a morbid pirate adventure that, throughout Watchmen, parallels and comments on the main narrative. At first, it's a neat trick, but after it reappears, chapter after chapter, the reader is left to wonder, So freaking what?!? The pirate comic's author even shows up in a subplot, but to little effect.

    The art is self-consciously and at times overly conservative: The jaws are square, the pages reliably nine panels. But the result is an interesting formal tension between an old-fashioned look and groundbreaking writing. Intricate plot and elaborate layout come together like -- what else? -- clockwork. It's interesting on a technical level. There are times, though, when everything feels so determined by the machinery of the plot. It saps the story of life.

    A great deal more time is spent on the characters than on the story,. This, too, suggests why "graphic novel" might work as a label ... if you're so inclined. Characters like Dan Dreiberg and Laurie Juspeczyk and her mom Sally Jupiter are all recognizably human and admirably three-dimensional. Everything is complicated and ironic and inconvenient in their world, as in ours.

    As for Rorschach, Dr. Manhattan and the Alexander-obsessed businessman Ozymandias -- in another literary incarnation, one imagines they might have taken a long, rejuvenating stroll outside the International Sanatorium Berghof, clicking their canes and worrying through the implications of determinism. Alas, in Watchmen they're set loose on all of Earth and even Mars. They're little more than mytho-philosophical types with tortured vocabularies. They hover somewhere above our mere sympathy or indignation.

    Watchmen is unfailingly earnest and superbly ambitious. It's big and strives to be important, but too often, it's just self-important. Moore's writing is thick with pretentiousness and periodically turns into a parody of itself. Example from Chapter V: "Good readers, know this: Hades is wet. Hades is lonely." Ugh. Take it as irony if you want. Still ugh. Or from Chapter XI: "As an afterthought, the method has an earlier precursor than Burroughs in the shamanistic tradition of divining randomly scattered goat innards .... The subject for a subsequent discourse, perhaps." One hopes not. And from the same page: "It must be so disorienting. Their pursuit leads them deeper into moral and intellectual regions as uncharted and devoid of landmark as the territories currently surrounding them."

    There is a gut-wrenching moment in Watchmen. It's at the end of the penultimate chapter -- when a video monitor goes white and all is horribly quiet. This is a moment made for myth, for a story that, in the words of Karen Armstrong (in A Short History of Myth), "is about the unknown; ... about that for which initially we have no words." Myth, says Armstrong, "looks into the heart of a great silence." What's remarkable about Watchmen is the way it methodically, sometimes cruelly, exposes its characters' "essential silliness" (to quote Moore in his introduction to The Dark Knight Returns) while managing to maintain the spirit and mission of myth.

    It does this despite the fact that, traditionally, myths and novels, comics and novels, are contradictions in terms. Sure, myths may sometimes read like novels, Ruth Franklin argued recently in The New Republic, "but the two forms really have nothing in common. Even the most experimental fictions must rely on psychological realism to some extent; without it, their characters would be unrecognizable, and their plots without interest." Myths, meanwhile, are about the contradictory and the unexplained. The blank. The silent.

    Of course, such moments are rare in the loud, hyper-articulate cacophony of Watchmen World -- the silence that results from a few million deaths can seem like a relief!

    In the end, though, the visual complexity of Watchmen overwhelms many of its literary failings. It is endlessly interesting to look at. And the world that Alan Moore created is so broadly and deeply imagined that it pulls you in and, in the end, won't let you go ... even if you want to. With minor caveats, one could easily co-opt James Wood on the subject of Don DeLillo's Underworld: "The book is so large, so serious, so ambitious, so often well-written, so punctually intelligent, that it produces its own antibodies and makes criticism a small germ."

More info:
    Written by: Alan Moore
    Art by: Dave Gibbons
    Publisher: DC
    Genre: Superhero

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Jul 2nd, 2011, 1:57 pm

Post rewarded by Ojay on Jul 4th, 2011, 2:37 pm.
5 WRZ$ reward as announced in Comics News. Nice reviewed. Thanks