[Zacharie]

Title: NO HERO (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: Matthew Peterson (Don't click it, read the review here... )

" Just don’t read it while eating…"
Review: No Hero #1 – 4

Many years ago, I managed to track down a leather-bound copy of a book entitled “The Encyclopedia of Super-Heroes.” It listed, in ridiculous detail, as many of the superheroes created between 1938 and 1984 or so as the writer could possibly document, from Superman and Batman down to one-shot wonders like Butterfly and Hell-Rider, to advertising characters like Bud-Man. Since then, I’ve often wondered how difficult it would be to update that volume, since the 90′s comic boom created thousands of guys whose names are synonyms for “fight,” and gave us easily as many new heroes as were in the entire original book. But another question floated to the front of my mind while reading these issues. If you had the opportunity, and you really wanted to be in that book, to have powers and costume and the whole schmear, REALLY wanted it… What price would you be willing to pay to be Superman?

Previously, on No Hero: Warren Ellis is one of those creators that I will usually follow NH2.jpganywhere, ever since I encountered his work revamping Jim Lee’s cliche-ridden X-Men knockoff, Stormwatch. That title eventually morphed into The Authority, where Warren pioneered (if not invented) the ”wide-screen comics” genre that is currently running rampant throughout the industry. With Planetary, he almost out-Alan-Moore’d Alan Moore, with a shared reality encompassing existing characters (or pastiches of them, at the very least) drawing together the likes of Doc Savage, The Shadow, The Fantastic Four, Tarzan, and dozens of other references as well. More than that, the sight of hordes of MODOK Elvises (Elvi?) swarming up to battle the heroes of nextwave is still a favorite comics moment of all time for me. Ever since he went to work for Avatar Press (or they went to work for him, whichever) Mr. Ellis has created a number of odd and thought-provoking series, including Black Summer (a fave-rave of mine) and launching this book, set in a world vaguely familiar, yet completely unlike what we’ve seen before.

We start with a very Warren Ellis moment, hours after two premier superheroes have been killed, and CNN has gone into 24-hour Dead Rock Star mode. The brains behind the team, a man called Carrick Masterson (think Professor X with better hair) is forced to find new recruits for his team, and we’re introduced to a kid named Josh Carver, who knows how Masterson recruits. “They watch… And they listen.” Josh goes out that night, as he does every night, patrolling the streets for crime. When he finds a mugging in progress, he responds with lethal force for the first time, only to find himself recruited byMasterson. Josh freaks out a little, a combination of nerves and the realization that he killed his mugger, but his nervousness doesn’t keep him from giving the speech he’s been waiting to give. “I’m no hero,” he says (hey, we got us a title!), “I want to stand up and say, yeah, I’ve decided I am capable of judging you, because some things are just right, and some things are just wrong.” With that, Josh is swept away to become a member of the Front Line, America’s greatest super-team. Taken to Front Line headquarters, he is shown a glimpse of the good life, and given his dose of FX7, the drug that will make him a superman. I feel like part of this is familiar, until Josh picks at his fingernail, and it rips completely off… then ALL his nails peel free, he vomits blood, and his entire body starts to molt. Worst of all, FX7 is more than just a power pill. It’s a hallucinogen, leading Josh into his own private version of hell.


And, oh my word, what a hell it is… Artist Juan Jose Ryp creates page after page of horror, more than just blood, or guts, or gore, but tentacles, eyeballs, insectoid monsters, and scenes worthy of Heironymus Bosch. It is truly disturbing to watch, and I haven’t felt this creeped out since the “Tool” gig in Guitar Hero: World Tour. Carrick watches as Josh trips his face off (literally) but his attention is taken away when another of his heroic protegees is killed in a car bomb. Whomever has been killing the supers has intimiate knowledge of the FX7 drug, knowledge that Carrick has worked hard to keep out of the hands others, to the point of murder and international incidents. Josh awakens from his traumatic experience to find himself alive, and seemingly well, but when his skin and hair come off, it freaks him out. When his genitalia fall away, he loses his lunch yet again. Carrick sends for Redglare, the Front Line equivalent of Captain America, who tries to talke the kid out of his funk. Again, the images that Ryp puts on the page are purely awful, and yet… compelling. His face and flesh peeling away, Josh rages out of control, RIPPING his hospital bed out of it’s concrete moorings and smashing the containment room with half a ton of medical steel. “Hey, Josh!” cries Redglare. “It worked. You’ve got powers, kid!” Carrick Masterson, meanwhile, has problems of his own, as he suspects that the Russians AND the Chinese are working together to murder the Front Line. Making do with what he has, Carrick outfits Josh with a full-body containment suit and mask, dubs him Revere, and brings him out with a full press conference. And, of course, and assassin in the crowd shoots Joshua right in the face, exposing his monstrous skeletal visage to the world. As he’s hustled away for medical care, Josh yammers “There’s nothing wrong with me… Nothing wrong with me. I’m a superhuman now.”

Two words: Cree. Pee. Warren Ellis draws out the horror of the situation, focusing on Josh’s monstrous transformation, and Ryp manages to draw every ounce of “GYAAH!” into each panel, with Revere’s face looking remarkably like Darkseid fell into a pool of alien feces, and then his face melted. It’s truly hard to look at, and that’s the point. Josh’s willingness to give up everything to be a superhuman is tested and tested hard with these issues, and I’m fascinated by the story, in the same way I’m fascinated by a large bug, or an animal that may or may not be dead by the roadside. There are elements here which echo other books, such as ‘The Boys’ (written by Garth Ennis, whom I often confused with Ellis) and Warren’s own Transmetropolitan, but it’s really the art of Juan Jose Ryp, and the super-vivid coloring that makes this book leap off the stands and grab you. The first issue set us off on what seemed like a familiar journey, but the second detoured into Scavullo hell, and each successive chapter has gone further and further off-kilter, in wonderful ways. I had actually hoped to cover No Hero #5, which shipped this week, but distribution issues sent me back to the previous comics, and I’m glad I reread them. They’re good… They ain’t Spider-Man, and they sure as heck ain’t Teen Titans or Youngblood, but they’re interesting nonetheless. The first four chapters of No Hero earn a whole-hearted 4 out of 5 stars, for giving us a story and characters that are more than the sum of their parts. Just don’t read it while eating…

More info:

Writer: Warren Ellis
Art: Juan Jose Ryp

Publisher:

[Zacharie]

Title: Buffy the Vampire Slayer - Season 9 (Click to go to the release post)
Writer(s): Joss Whedon (Click to see other books from this writer released on this site)
Review source: Kelly Thompson (Don't click it, read the review here... )

" Joss Whedon has managed the impossible yet again, somehow reinventing and reinvigorating these beloved characters and putting them on entirely new paths and adventures."
Review: Buffy The Vampire Slayer: Season 9 #1

“Buffy The Vampire Slayer” is a hard comic for me to review, as I have to struggle to keep the emotionally invested fangirl parts of me balanced with the objective reviewer parts. Fortunately, “Buffy The Vampire Slayer: Season 9” #1 is a very good comic, so my job is made easy.

“Season 9” of "Buffy The Vampire Slayer" picks up with Buffy trying very hard to find herself and her place in the world after the devastating events of the previous season battling the villain Twilight. These devastating events included but were not limited to very weird super sex (the less mentioned about that the better); the death of her longtime mentor and really, father, in all the truest senses of the word, at the hands of her former (and somewhat current) lover; and in the end, Buffy’s decision to rid the world of all magic in an attempt to save lives and do the right thing. Buffy’s decision has left her very unpopular with a lot of people, good guys and bad. This first issue finds an almost forcibly upbeat Buffy connecting with her core family and friends (as well as a few new faces) and trying her damndest to build a life for herself in the new world order, which in this issue, at least, includes a very large amount of drinking.


Seeing Joss Whedon’s name on the writing credits on this issue ensures to anyone that knows anything about the Buffyverse that they’ll be getting the best possible take on their characters. You can’t get any closer to the source than Joss Whedon writing Buffy, and while there are many talented writers that also do a great job, at the end of the day I’m always happiest when it’s Whedon. And in true Whedon fashion, he has upset the apple cart in the Buffyverse yet again, and is clearly enjoying the fallout. In “Season 8” Buffy was the general of a massive army of slayers throughout the world. Buffy now works in a coffee shop in San Francisco, has some roommates who don’t know she’s a slayer, patrols every night, and is basically trying to figure out her life. To be honest, I wasn’t really looking forward to this; it felt like a step backward. But, as usual, Whedon has proved me wrong and reminded me why he knows what’s best for his characters and how best to keep them learning and growing. The voices, it probably could go without saying, are dead on accurate. The frantic and almost haphazard plot – most of the issue pirouettes between present day hung over Buffy and flashbacks to the night before as Buffy tries to remember it all – feels entirely deliberate to where Buffy is in her life at this particular moment in time. It works as an effective device in that way. Whedon weaves it all together effortlessly, and because he’s Joss Whedon, he doesn’t skimp on the jokes either. -- the kind of jokes that are obvious and that only someone ‘in the family’ can get. And it’s all just very delicious.

George Jeanty and Dexter Vines’ art is very strong in this issue. Jeanty’s Buffy work has always been strong as he has a great feeling for these characters and this world, but there were a few frustrating inconsistencies that left some pages and panels feeling slightly rushed. The opening page of a hung over Buffy is almost hypnotic in its beauty and emotion, and illustrates how good the book could and should be on every page. But occasionally characters in this issue feel a bit off model, like Dawn looking a little strange, and Willow looking very little like the Willow I’ve come to know in either the comic or the television series. But there’s a lot to see here, and massive party scenes are incredibly time consuming and difficult to execute, and in truth Jeanty delivers impressively for an issue filled with so much of…well, everything. The colors by Michelle Madsen are fantastic, jumping from overly bright party scenes to dark underworld type goings on with ease.

Joss Whedon has managed the impossible yet again, somehow reinventing and reinvigorating these beloved characters and putting them on entirely new paths and adventures. I cannot wait to see where Whedon is taking us this time, although I desperately hope that one of those places will be Buffy and Spike getting together. Hey, I said I struggled to keep the balance between critic and fan, I didn’t say I succeeded.

More info:

Story by Joss Whedon
Art by Georges Jeanty, Dexter Vines
Colors by Michelle Madsen
Letters by Richard Starkings, Jimmy Betancourt
Cover by Steve Morris, Jo Chen, Georges Jeanty

Publisher:

[Zacharie]

Title: Army of Darkness / Xena (Click to go to the release post)
Writer(s): John Layman (Click to see other books from this writer released on this site)
Review source: Bruce Logan (Don't click it, read the review here... )

" Army of Darkness / Xena #1 left me feeling more than a bit…indifferent."
Review: Army of Darkness / Xena #1

Exclamation: “Why not? Screw that. I ask why the f*** yes?!”

Explanation: The issue takes a scene from the Army of Darkness (movie) and uses it to launch that Evil Dead reality towards that of Xena, Warrior Princess. However, it is not the real Ash who gets sent through time and fantasy reality, at least not at first, it is one of his evil-mini mirrored doppelgangers. As for Ash, he too makes the trip before the last page is done. What about Xena and her pals? Their part here is limited to them going up against and trouncing over a Cyclops, i.e. the obligatory introduction scene(s). Accompanying Xena is her friend and constant companion Gabrielle and a familiar looking (compared to Ash) chap by the name of Autolycus.

Examination: Here we go again. Let me start by strumming the same old (disclaimer) guitar that even though I have read and am now reviewing this comic, I haven’t watched either of the Evil Dead movies or for that matter a single complete episode of the Xena, Warrior Princess TV show. Neither interested me enough to invest enough time to get to know what they were about. Heck, it was only after Googling it that I realized the reasoning behind Autolycus’s comments about evil mini-Ash. Nevertheless, given my reading of the recent Dark Xena mini-series (Dyanmite Entertainment), also written by John Layman and the currently three-quarters done Evil Dead mini-series (Dark Horse Comics), I decided to give one a try too.

So, how was the experience?


Well, I enjoyed the funny moments, a lot. In fact, except for the cliffhanger closer the Ash moments definitely scored higher than the Xena moments. Granted, the one in the end isn’t Ash per say and that Xena’s presence in this issue wasn’t nearly as much as Ash’s, still even when she and her pals were there the story flow seemed to get a severe case of brake-itis. Next issue is bound to show more of her, Gabrielle and Autolycus. Hope that it doesn’t turn out as forced as this one. Then again, crossovers such as this - between characters set in modern times and those in past/fantasy times - always seem a bit off to me. It was the case when I first read the original Red Sonja / Spider-Man crossover (didn’t read the recent one) and it is the case here.

The next issue will bring have Ash’s meeting Xena and pals, which means at least a couple “Hey, that guy looks like me,” moments between Ash and Autolycus. Such is my level of excitement about this series that of all the things I am most interested in this tired clichéd of a confrontation between the two Bruce Campbell played characters.

Miguel Montenegro and Zona’s artwork is definitely my favorite part of AoD / X #1, even more so than the funny moments for without the artwork those moments wouldn’t have been half as expressive. Not only is Montenegro’s style detailed, done with semi-realistic maturity, it is animated enough to make up for the seriousness that comes from the aforementioned maturity.

Proclamation: With the flunky moments offsetting the energy generated by the funny & action filled moments, Army of Darkness / Xena #1 left me feeling more than a bit…indifferent.

More info:

Written by John Layman
Artist: Miguel Montenegro
Cover: Zona I

Publisher:

[Zacharie]

Title: The Walking Dead (Click to go to the release post)
Writer(s): Robert Kirkman (Click to see other books from this writer released on this site)
Review source: A. Sandoc (Don't click it, read the review here... )

" A must-read for anyone looking to find something different from all the costumed superhero titles. "
Review: The Walking Dead, Vol. 1: Days Gone Bye

I was out of the comic book reading hobby for several years, but I have to say that I was glad that i came back to reading comic books again. One of the first titles that hooked me this second time around was Kirkman's The Walking Dead for Image Comics. I have to say that its taken the current renaissance of zombie films and books and ran away with it.

Using the same slow, shambling zombies that Romero first made popular with Night of the Living Dead and its subsequent sequels, Kirkman continues the story where Romero usually ended his films. All those times people have wondered what happened to those who survived in zombie films need not imagine anymore. Kirkman has created a believable world where the dead have risen to feast on the living, but has concentrated more on the human dynamic of survival in the face of approaching extinction.

I won't say that the story arc collected in this first volume has little or no zombies seen, but they've taken on more as an apocalyptic prop. One can almost substitute some other type of doom in place of zombies and still get a similar effect (as was done in Brian K Vaughn's equally great series, Y: The Last Man). What Kirkman's done is show how humanity's last survivors are now constantly, desperately adapting to a familiar world through unfamiliar circumstances. Characters from the start make the sort of mistakes regular people would make when they don't know exactly everything that is happening around them. Instead of chiding these people as one reads their story, we sympathize and hope for their continued survival.

I am hopeful that the rest of the collected trades will be equal to and maybe surpass this first story-arc. Already kirkman's done more to realizing the universe Romero created than alot of the hack filmmakers who have taken Romero's idea and cannibalized it for their own profit. I consider The Walking Dead as a must-read for anyone looking to find something different from all the costumed superhero titles.

More info:

Written by Robert Kirkman
Art by Tony Moore

Publisher:

[Zacharie]

Title: Eureka (Click to go to the release post)
Writer(s): Brendan Hay (Click to see other books from this writer released on this site)
Review source: Stephen Schleicher (Don't click it, read the review here... )

" Fans of the television series are going to enjoy the comic book"
Review: Eureka #1

Since its debut on the Sci-Fi Channel, my wife and I have been fans of Eureka. When Boom! Studios announced it was bringing one of the highest rated cable series to comic form, I knew it was something worth checking out. The first issue doesn't arrive until February 4, 2009, but Major Spoilers is able to bring you an early review of the series that fills the space between seasons.

There are a couple of things going for Boom! Studios as it launches a this new series. The first is pretty obvious as the creator of the television series, just so happens to be one of the founders of the company, and he also happens to be the person behind this issue’s story. The second is the series gives readers something extra the television show hasn't – in this case an interesting backstory of Deputy Jo Lupo.

Throughout the television series, Jo's past has been kept mostly a mystery. Viewers know she's into guns and is trained in the military, but little to nothing else has been revealed. The first issue begins to fill in that missing information with the sudden appearance of one of Jo's former military team members, and his new found powers. This creates a bit of a problem (hey, this is Eureka), and no matter what Jo or Sheriff Jack Carter do, they just can't keep him down… regardless how many times they shoot him in the head.


Andrew Cosby and Brendan Hay spin an interesting first chapter that brings the charm of the television series to the page, complete with the witty comments and off-beat humor audience have enjoyed for the last three seasons. Cosby made a bold move when he decided to tell tales between seasons that have already aired. On the one hand, audiences know certain characters are going to live as the results have already played out in season three, which could cause the jeopardy moments to stumble. On the other, a lot of back story and filler stories can be told to bring even more enjoyment to the television show.

One of the worst things about taking a live action property and turning it into a comic book is an artist who can't draw caricatures of the actors from the television show. Buffy the Vamprie Slayer, from Dark Horse pulls it off, and likewise, Eureka artist Diego Barreto is able to do a pretty good job of bringing the inhabitants of Eureka to life in the pages of this first issue.

The biggest question for Boom! Studios right now is how it plans to market the series. Having sites like Major Spoilers write reviews, and getting nice press in the comic community is great, but I'm hopeful the company pursues advertising in other venues like the Sci-Fi Channel proper or at the very least a plug on the show's website, as the proper plugging can lead to one of those one-hand-washing-the-other moments; fans of the television series can head to the comic shop to pick up the series, which generates more interest in the television series, which in turn generates interest back to the comic to the point Eureka could give the Buffy comic a run for its money.

When a company takes a gamble and adapts a television series to comic book form, it could turn out really really bad. I know there will be a morbid curiosity to see if this book fails, but after reading the first issue, it is apparent Eureka the comic book series is doing things in the same spirit as the television show. Fans of the television series are going to enjoy the comic book, and because of this, Eureka #1 earns 4 out of 5 Stars.

More info:

written by Brendan Hay
Illustrated by Diego Barreto

Publisher:

[Zacharie]

Title: Army Of Darkness: Ash's Christmas horror (Click to go to the release post)
Writer(s): James Kuhoric (Click to see other books from this writer released on this site)
Review source: pressrelshow (Don't click it, read the review here... )

" "It's a blunderful life" for everyone's favorite big-chinned Chosen One "
Review:

Dynamite presents their first ever Christmas Special... this time with a twist as we send Ash on a Christmas adventure the likes of which the world has never seen! Will Evil Ash destroy Christmas? Can Good Ash stop Evil Ash from ruining Christmas? Is there really a Santa? Find it all out this December in a 40 page one-shot by writer James Kuhoric and classic Marvel artist Dave Simons!

Everyone loves the holidays, right? Wrong! If you've ever worked S-Mart retail in December, you know it's a special hell filled with something worse than Deadites.... dumbass holiday shoppers. And when the Necronomicon gets a hold of some classic holiday entertainment, it send Ash through a voyage of twisted Christmas visions that beat him senseless and initiate something deeper in Ash. "It's a blunderful life" for everyone's favorite big chinned Chosen One and this year he's going to face something tougher than Deadite Santas and zombie elves. He'll find a piece of his soul that was swallowed long ago….


AoD Writer, Jim Kuhoric summed up his collaboration with Dave Simons and the upcoming AoD one-shot, "When the folks at Dynamite pitched their ideas for an Army of Darkness Holiday Special, I was excited to finally get to tell a different kind of story for Ash. Finding out that Dave Simons, who worked on Tomb of Dracula and Ghost Rider during their classic Marvel runs, would be doing the art was what really sealed the deal. Ash's Christmas Horror isn't what you expect. Sure it has lots of Deadites, geysers of blood, and ridiculous situations, but it's much more than that. This story gives us a rare look at the human side of Ash, explains why he hates the holidays, and gives him a chance to find out if there is any room left in his hard heart for compassion. That and he ends up transformed into a one armed boomstick carrying Claymation holiday character. Merry freakin' Christmas, eh?"

And about the chance to work on AoD, artist Dave Simons exclaimed, "When Nicky first sent me a box o' comics to familiarize me with the Dynamite line, in amongst the Red Sonjas and Lone Rangers (great book, by the way) was Army of Darkness. I thought that AoD would be a fun book to work on and particularly suited to me with my experience in both horror (Tomb of Dracula, Ghost Rider) and humor (The Real Ghostbusters and many other animated shows). Little did I know I'd end up working on the AoD Holiday Special! This marks my return to print after several years of working in animation and I couldn't have picked a more appropriate project."

"Dave work has graced comics work throughout the late '70's and '80's. He's been sorely missed from the comics market. As some pages have come in, we're proud to showcase them so that fans can appreciate and anticipate his comics return. We thank Dave for doing so with Dynamite!" stated president Nick Barrucci.

More info:

Written by James Kuhoric
Art by Dave Simons
Covers: Dave Simons

Publisher:

[Zacharie]

Title: Identity Crisis (Click to go to the release post)
Writer(s): Brad Meltzer (Click to see other books from this writer released on this site)
Review source: Dominic Organ (Don't click it, read the review here... )

" It could be golden pages and the finest story ever told, but if it kills another JLI member, I’m visiting your office with the new Celine Dion single. Then where will you be? Hmm?"
Review:

DC is an interesting entity. Human beings learn and evolve thanks to their pasts; they are the sum of their experiences essentially. I pick up something incredibly hot, I get burned and put it down. Yes, I may repeat this almost a hundred times but eventually, after being told, shown and finally tested for myself, I learn the lesson. It’s the way of all creatures I suppose (George W. excluded of course) and yet DC constantly picks at its own history like an unseemly scab. For some bizarre reason, DC feels the need to play around with the past and future, resulting in numerous stories that cause my retinas to burn out with rage as they are rarely handled properly. I think this is typical of comics on the whole, sodding around with the continuity of a hero is a bad idea. An interesting anomaly here is the Sentry, who was woven into the fabric of Marvel's past very well in his mini (I exclude New Avengers as they have just altered this to remove him from everyone's memories bar the heroes involved, essentially altering this uniquely handled plot point….hmm). I’m pleased to say that Identity Crisis goes about sorting out some of the weaknesses in the transition from old to new. That can only be a good thing…..can’t it?

The first claim I should make about this story is, readers need to go in emotionally open about it. Try to put yourself in the position of the characters; you’ll find it far more fulfilling, much like eating an Oreo in front of someone on a diet or having sex on your boss’ desk…….with his wife. Second, I am going to reveal the minimum amount possible regarding the story as that is how I read it, with minimal knowledge. Beyond that, I am going to have to at least reveal what I knew beforehand to make this a review worth reading. Otherwise this is just 6 paragraphs of me saying funny things and as hilarious as that is to read, I would have a hard time getting it put on the site.

The story begins with Elongated man, a hero long left out in the cold along with numerous other JLI\JLE members as writers are hard pressed to match the Giffen\De Matteis formula that worked so well in the eighties. The entire story is really about Elongated Man and his wife Sue, though the story is padded out beautifully with additional characters. This reads like a JSA story; it’s all about the past. Moreover it takes the past, spits on it, swipes at it with a rag and actually makes it sparkle a little bit. Ralph reminisces about his life with Sue, how they met and his feelings for her. As I read this, I took a moment to wish I had spent more time reading about them. Oh sure I read the JLI\JLE series but if Meltzer had written a series just about these two with this sort of emotional depth, I would not only read it but marry it also. Now I knew Sue was going to die; I had stumbled across that fact when IC first came out. Unavoidable as a TPB reader. To be honest it is a miracle I didn’t find out everything else that happens, but I was fortunate with this one. All the same it didn’t prepare me for the brutality of what happens to her, nor for Ralph's naked grief. If you have ever seen a person so totally destroyed they can’t even hold themselves up, be prepared to see it again.


What gets addressed here is some of the weaknesses of the old stories. When the JLA got possessed or their identities were found out, what happened to that knowledge? The book deals with it in the right way I feel. It’s also an appropriate choice of characters for the darker side of this story. Green Arrow, Black Canary, Carter and even Zee to a certain extent could all be considered far more black ops than JLA. They have proven their worth in the past, but also shown they are prepared to be brutal to get the job done. The surprise is the other inclusions, most notably the Atom and Barry Allen. Could they really be a party to this sort of behaviour? You bet, and the story doesn’t hold back in explaining why. We also get to see how organised the heroes are when a crisis of this sort strikes, but not in the way you think. Yes, the security systems of the heroes are impressive and the way they mobilise is equally interesting. However, what the heroes don’t do speaks volumes. Iconic heroes like Superman and Batman are….selective in what they discover. So long as the job gets done, the dirty work can be pushed to the background. Laced throughout the story is betrayal which is presented in spades. It really makes you think about the characters and how they have been forced to tarnish the very ideals they are attempting to safeguard.

The battle between the heroes and Deathstroke is very satisfying. Some of the best the DC universe has to offer go up against a foe we rarely get to see anymore, which is a shame given the way Meltzer handles him. On top of this a small army of heroes spread out looking for clues to the crime and get nowhere. There is an obvious sense of panic here, and it’s orchestrated well, illustrating people on the brink, trying to maintain the aura of calm.

Where the story really stands out though is in the human tragedy of it all. I am a big fan of titanic battles, of seeing Superman (who I readily admit I don’t actually like) get hit and not miss a bit. It gives a child-like giddy thrill which is quite satisfying. This story provides this but in minimal amounts. Instead, a soap opera style story unfolds and for once, I’m not flicking to the soccer. The intensity and focus does fluctuate though. The Firestorm situation is weak compared to, say, the Atom and his ex-wife. Something I never saw coming and was pleasantly surprised. The most shocking, most poignant and most memorable part of the entire story has to be Batman and Robin racing back to Tim's apartment. The fear is palpable and all over Batman's face, a single panel that will stick with me for some time I am sure. It is just one of the brilliant moments featured in this story which makes the heroes seem really vulnerable. Not vulnerable against some vast enemy or some unconquerable evil, but against their own fears and insecurities. The bonds between them get so stretched you think they might snap. Of course they don’t, but for a second there…….

The reason I don’t give this a perfect five is the bung I requested from DC still hasn’t cleared yet, and I'm nobody's fool. Also, the art is incredibly spotty in places. At times it is downright ugly and this detracts from the story. God knows what the artists was aiming for in the first few panels, Ralph looks like a bloody alien. On top of that is Conner, who is given a Guy Gardner-esque haircut and made about fifteen. These are minor matters and not indicative of the art on the whole, which is actually excellent, but it is enough to lower the rating in my eyes. On top of that the curse of the JLI continues to march on with Sue dying and Ralph distraught. Add to that the recent deaths of both Blue Beetle and Maxwell Lord, well……………you can shove a five up your arse, DC. It could be golden pages and the finest story ever told, but if it kills another JLI member, I’m visiting your office with the new Celine Dion single. Then where will you be? Hmm?

More info:

Writer: Brad Meltzer
Penciller: Rags Morales
Inker: Michael Bair

Publisher:

[Zacharie]

Title: The Middleman: The Doomsday Armageddon Apocalypse (Click to go to the release post)
Writer(s): Javier Grillo-Marxuach and Hans Beimler (Click to see other books from this writer released on this site)
Review source: Greg Burgas (Don't click it, read the review here... )

" if this is your first exposure to the world of the Middleman, I think you’ll be overjoyed by what a fun, funny, exciting, and nice-looking comic it is."
Review:

The Middleman, as you ought to know, is one of the few contenders for “funniest comic book of the decade.” It was also a tragically underrated television series on ABC Family last year, in one of the odder pairings of show with network you’ll ever see (to be fair to ABC Family, they showed it when no one else would). And now, there’s a slim graphic novel that wraps up the loose ends of said television show!

So, The Middleman: The Doomsday Armageddon Apocalypse. It is written by Javier Grillo-Marxuach, naturally, and some dude named Hans Beimler. It was laid out by Les McClaine (the artist on every other Middleman comic), but apparently he had time constraints (he’s working on the new Tick, I know that much), so it was finished by Armando M. Zanker. Unlike other Middleman comics, it’s colored, this time by Digikore Studios, and it’s lettered by Gary Beatty. Viper Comics published it, and it costs $7.95 (for a 68-page book). Don’t you love boilerplate?

This is, in many ways, a typical Middleman comic, and as the previous ones were ridiculously hilarious, this one is too – for the most part. But it’s not quite as good as the previous comics either, and that’s too bad. It’s still worth a look, because it gives you a good idea of what the Middleman comics are like – and if you like this, you’ll love the original comics, which are shots of pure joy.

Here’s the problem with this comic: It’s written like one of the episodes of the television show. I should explain for those of you who foolishly missed the TV show or, worse yet, don’t have ABC Family (how are you going to watch The Secret Life of the American Teenager?!?!?!????!?!?): It got cancelled. So sad! But Grillo-Marxauch had set up a bunch of subplots that had yet to be resolved, and I don’t know if he was planning on continuing them in a theoretical second season or not. Whatever his plan, he wraps them all up in this comic, which is kind of neat. So if you watched the series (and considering that you can get it on DVD, you have no excuse not to), this is a charming summation of what was going on. It’s strange that the Middleman now has two separate continuities (one from the comics, one from the show), but this is part of the latter one. So if you didn’t watch the show, you might be a tiny bit lost, but luckily, Grillo-Marxauch catches us up pretty easily, with a one-page recap in the front and with some of the dialogue. But it is a warning about the book. The other problem with the fact that it’s written as if it’s an episode of the television show is that the dialogue reads oddly, because it seems like it ought to be spoken. It’s not a revelation to say that words that are meant to be read are often written differently than words that are meant to be spoken, and this often feels like it should have been spoken, not read. I hope that’s clear. For instance, Ida constantly insults Wendy about smoking weed, using various slang terms for it. She did this in the original series, but now, I can’t read them without hearing Mary Pat Gleason spitting the words at Natalie Morales, and the jokes don’t work as well. The rhythm of the dialogue is off a bit, in other words, because the actors aren’t saying the words. This isn’t too huge of a problem, as Grillo-Marxuach still does a fine job blending the pop-culture jokes that make the series so funny with the bigger plot and he also, as usual, does a good job with the characters, but in spots, the dialogue feels like it would be better if Matt Keeslar, Morales, Brit Morgan, and Brendan Hines were saying it. Once you get past that (if it’s even a problem for you, and it’s only a minor one for me), the dialogue is fine. And funny.


Grillo-Marxuach’s story is a standard Bad Guy Takes Over The World kind of thing, and some of it is funnier if you’ve watched the show, but it’s still a simple plot on which Grillo-Marxuach can hang jokes, and most of them work. It’s an obvious plot until the end, when Grillo-Marxuach adds some unexpected poignancy, which is part of what makes the other comics so good, too. Again, it works better if we consider this a final episode, because we have seen the way the characters relate to each other over several episodes. If you haven’t seen the show, the ending is still nicely done, but it might – just might – have a little bit less of an impact. Again, I liked it and thought it wrapped up the series very well, but I suspect it will mean more to those who have seen the show.

Zanker has a good, cartoony style to his art, which fits the style of the narrative well. He’s quite good with the big, expansive, end-of-the-world scenes, as Grillo-Marxuach gives him robot kangaroos and other goofy things to draw, and he does a nice job with it. He’s not quite as good as McClaine is, as he’s not great with the characters, making them a bit too cartoony. It’s certainly not bad art, but McClaine gave the characters a bit more depth, and it makes the times when Grillo-Marxuach does make things a bit more serious work a bit better. I don’t have a lot of problems with Zanker’s art … except he’s not McClaine. And although Morales was great in the role and Zanker’s Wendy is cute as a button, I prefer the original. But that’s just a preference of mine.

I was a tiny bit disappointed with this comic, but it doesn’t really have a lot to do with what’s actually on the page. It’s mainly because it’s not quite as good as the previous installments. But if this is your first exposure to the world of the Middleman, I think you’ll be overjoyed by what a fun, funny, exciting, and nice-looking comic it is. It tells a solid story that relies a little bit on your knowledge of other texts, but not overly so, and it tells a done-in-one story, so there’s no need to commit beyond this. And it does a good job showing you how great the other comics are. If you have already read The Middleman, this won’t change your mind one bit – if you didn’t like them (shocking!), you probably won’t like this, and if you did like them (understandable), you’ll like this. I’m really glad that Grillo-Marxuach got to “finish” the television show, so to speak, and I hope he has some other stories of the Middleman in him. The character has limitless possibilities!

More info:

written by Javier Grillo-Marxuach and Hans Beimler
Artist: Les McClaine and Armando M. Zanker
colored by Digikore Studios
lettered by Gary Beatty

Publisher:

[Zacharie]

Title: Criminal Series (Click to go to the release post)
Writer(s): Ed Brubaker (Click to see other books from this writer released on this site)
Review source: Aaron Albert (Don't click it, read the review here... )

" It has all the elements of a truly fantastic work, with the potential for years of entertainment. "
Review: Criminal #1

Honest work is for suckers. The grift, the con, the rackets…that's where the real money is. Life is one big game and only chumps play it straight. Pay attention to the rules, and you'll stay safe. If you act like a fish you're sure to get caught.
Admit it. You've thought about it at least once. There has to be a better way than that nine-to-five, punchin' a clock, day-in-day-out, dreary existence you call a life. A thin line separates the average Joe from a life of crime. While nobody wants to be "The Bad Guy", everybody has thought about being "a bad guy" now and again. Just once wouldn’t it be nice to throw away all those pesky little rules that make us civilized and say "Screw it all!" to the world?

Call it escapism, fantasy or whatever you like, but as a culture we have always been fascinated with the dark and foggy alleys of the underworld. Whether it is Jesse James, Billy The Kid, Al Capone, Wolverine or Captain jack Sparrow, there's just something about those guys and gals that live outside of the law. We see in them the epitome of freedom. They live life as if it were short, and go forth into the void with reckless abandon. If they happen to screw-up and get pinched or worse, we tell ourselves that we made the right choice all along.


Ed Brubaker and Sean Phillips have created a world where we can sit back and watch as these seedy, lowlife, scumbags go about their business and screw up, all to our complete enjoyment.

In the first installment of 'Criminal' we enter the life of Leo. Small-time hood who, when he's not spending time taking care of his father's aging-sick-junkie-ex-partner, he's picking pockets and selling identities. Life sucks for Leo, but the good news is, it's about to get a whole lot worse. A blast from the past is back and will stop at nothing to get Leo back to a "real" score; Five million in diamonds to be precise. Problem is, even though he's a great thief, Leo's too afraid of ending up shanked in some 4'x5' prison cell just like his old man, to be of any use.

This book has it all for you noir-junkies; crooked cops, dames, pick-pockets, con-men, a smoke-filled bar and all the double-crossing you could want. Anyone familiar with 'Scene of the Crime' or Sleeper, will not be disappointed. In fact, like me, you may find yourself thinking that 'Criminal' has the chance to be better than either of those books. While the main characters in both of those titles were fascinating, and sympathetic, I got the feeling that 'Criminal' is not a book about just one character. Much like Frank Miller's Sin City, 'Criminal' offers the perfect backdrop where an almost unlimited array of intriguing characters and situations may occur.
Brubaker’s pacing and dialog is dead on with just the right combination of crime lingo and noir exposition, without sounding dated or campy. These are living, breathing characters, trying to survive in an unforgiving city. While Phillips' gritty pencils and generous use if black set the mood, it's Brubaker's dialogue, that makes the tension and paranoia of living a life of crime, feel tangible.

Phillips' art, as always is nearly perfect for this type of story. Dark and gritty, with a wonderful sense of pulp, style and drama. With a simple, nine-panel grid composition, he is able to keep us focused on the important moments, not allowing us to wonder off on our own. There are plenty of dangers lurking in the shadows of this world, and Sean doesn’t want us to get lost. The overall effect creates a sense of intrigue and a slight feeling of claustrophobia. While the world of Criminal is a big place, these stories take place in the shadows and smoke.
Going back to their roots of crime-fiction, Brubaker and Phillips have hit the bullseye with Criminal. It has all the elements of a truly fantastic work, with the potential for years of entertainment.

Only a sucker would pass on this sure thing.

More info:

Writer: Ed Brubaker
Artist: Sean Phillips
Colorist: Val Staples

Publisher:

-

[Zacharie]

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

" Download it and you'll be rushing to download issue #2"
Review: Sanctuary #1

In a strange zoo/research facility, the animals are separated by walls which trigger electric shocks if crossed and they have microchip explosives which can be detonated on verbal command. A series of strange events is set off by a new arrival including a mysterious murder. Who is the killer? Who are the scientists? And what are their goals? Sanctuary is packed with intrigue.

The story is told primarily from the point of view of the animals, although we do get some of the scientists. The animal characters are very likable and the drama and humor that comes from their interactions is fascinating. We have a gorilla couple, the male an albino, a giraffe love triangle, and the tigers and lions who know at least something about the facilities where they are being kept. Throw in the new arrival, a smart alec panda and you have a cast of characters who would be entertaining even without the murder mystery.

Coughlin does an impressive job switching from humor to drama without it being jarring or out of place. In fact, the entire tale is impressive in its depth and complexity. I eagerly await the next issue to find out more about what is going on.

Now, don't bother asking your comic shop to order you these. They are only available for digital download. The first issue is free most places. Download it and you'll be rushing to download issue #2 for only $0.99. Yep, that's right. Two issues for less than a dollar. Two issues for less than most single issues on the rack. So check them out. Seek Sanctuary.

More info:

Writer/Artist Stephen Coughlin
Colorist Jordan Fong
Letterer Jef Bambas

Publisher:

[Zacharie]

Title: Eureka: Dormant Gene (Click to go to the release post)
Writer(s): Jonathan L. Davis (Click to see other books from this writer released on this site)
Review source: Sean Scott Maguire (Don't click it, read the review here... )

" You’ve never heard of Eureka? Well, you’ll be at a disadvantage, but you’ll probably like it too."
Review: Eureka: Dormant Gene #1 and #2

One of the cool things about exploring a television series in other media such as graphic novels (or novel novels or video games or off-Broadway musicals) is that you can explore areas of the fictional universe — like minor characters or clever back stories — that are only hinted at in the regular series.

The danger is that the graphic novel (or sock puppet show or modern dance interpretation) version will overindulge in the ability to explore strange new areas of the TV series, and get so out of whack that it completely loses the feel of the beloved TV series to begin with.

But fear not. Cosby and Paglia have struck the proper balance. Zoe is the main focus of the first installment, as she laments the fact that, as a “cool” person, she doesn’t fit in with all the hyper-genius kids who idolize the chess team instead of the football team, and where film class discusses the technology used to create film instead of just watching the frakking movies.

Zoe wishes for — and gets — a Twilight experience, complete with mysterious-yet-hunky chemistry lab partner. Oh, and there is the giant twenty foot tall raving lunatic madwoman who rampages through Tesla High. How did that happen? I don’t know, but welcome to Eureka.

Just as you start to fear that the comic will just be a carbon copy of the TV show, the second issue takes you in a completely different direction. Who is this nerdy guy who is sympathetic and creepy at the same time? Why am I not seeing any of the regular characters? Hah, that’s the trick.

You’re nervously enjoying the back-story of this seemingly random character when WHAM! You are back into the main story line that was set up in the first issue.

At the end of issue #2, we are left with a bunch of questions. What about the giant 20 foot tall raving lunatic woman? Will Zoe consummate her Twilight-style romance (my guess is “no way,” but I still want to see how it all blows up in her face). This is a good start to a potential ongoing story arc that hopefully will continue to balance the strengths of a comic — exploring stories that cannot be explored with in the regular TV series — with the reason readers might be interested in a Eureka comic to begin with: the beloved characters and the quirky town of Eureka.

The artwork is rather basic, but solid. This seems to have been a deliberate choice, and fits in well with the overall feel of the Eureka world. Thus, the artwork, although nothing to get your eyeballs salivating, matches the story being told.

Slightly annoying is the fact that the regular characters make only the briefest of appearances. And the main attraction of the show — watching Sheriff Carter use his basic horse-sense to deal with problems that the geniuses around him are too “intelligent” to be able to solve on their own — is missing from these issues. However, it looks like this might be rectified in subsequent issues as the plot further unfolds.

Overall, both true fans and those with only a passing familiarity with the show will be happy with this read. You’ve never heard of Eureka? Well, you’ll be at a disadvantage, but you’ll probably like it too.

More info:

Story: Mark Cosby and Jaime Paglia
Script: Jonathon L. Davis
Artist: Mark Dos Santos
Color: Digikore Studios
Letterer: Marshal Dillon

Publisher:

[Zacharie]

Title: Revolver (Click to go to the release post)
Writer(s): Matt Kindt (Click to see other books from this writer released on this site)
Review source: David Brothers (Don't click it, read the review here... )

" This is yet another quality comic from a guy who is quickly proving himself to be a force to be reckoned with, if he hasn't already. "
Review:

I think most people have a pretty active fantasy life. You know what I mean--where you daydream about being a thinly veiled version of James Bond or Superman or beating up your boss or being the president. A fantasy life is healthy, and thinking about living another life is a good way to work out frustrations or pass the time. It's also not real, which is probably a good thing.

Matt Kindt's "Revolver," an original graphic novel out of Vertigo, takes a character and turns what would be a fantasy in anyone else's mind into something akin to a nightmare. Sam goes to bed one night and wakes up in the middle of something like the apocalypse. Planes are falling out of the sky, disease is running rampant, and it looks a whole lot like the beginning of the end. After going to bed in this fresh new hell, he wakes up in the normal world. His job still sucks, his fiancee is still materialistic, and his boss is still a jerk. The next morning, back to chaos. And back and forth he goes, again and again, living out two lives, both of which are sad in completely different ways.

Kindt's Vertigo debut is something that has all the ingredients for a rocking post-apocalyptic adventure tale, the kind of story you describe with phrases like "high octane" and "tour de force." A milksop finds his way into a tense situation and discovers he has what it takes to survive. Kindt, though, goes in another direction entirely. Rather than trafficking in the same old cliches you see in every post-apocalyptic tale, Kindt instead delivers a character-driven story that's a bit more realistic than you'd expect.


Sam never quite becomes the action hero you may have thought he'd turn into early in the story. The violence and terror of the chaotic world shakes him to the core, and while he finds things to enjoy in that world, he never really comes to enjoy it. His normal life degrades as his experiences begin to take a toll on him, causing him to seek help from a psychiatrist.

Sam stays realistic, and that's a boon for "Revolver." He's grounded to a very believable degree, and that keeps the story from spinning off into outright fantasy. Both worlds are approached with the same level of realism, which results in a somewhat melancholy, but gripping read.

Kindt's art is toned, rather than fully colored, which enhances the melancholy tone of "Revolver." Characters sometimes feel sketched out, and look a little rough around the edges overall. I hesitate to say that they feel unfinished, because that is both inaccurate and unfair, but there's something about them that makes their ordeal feel even rougher, whether in the ordered world or the chaotic one. It's easy to believe in their pain and their plight.

In contrast to the slightly rough art, Kindt sticks to a steady grid throughout the book, save for when story needs necessitate a break in the rigidity. It's a particularly effective technique, because the grid both keeps the story moving along quickly as it flip-flops between here and there, and when the grid goes away, you're looking at an emotional gutpunch.

"Revolver" is a good read. It went by quick as a breeze, and it's got just enough depth to provoke further thought. This is yet another quality comic from a guy who is quickly proving himself to be a force to be reckoned with, if he hasn't already (on "Super Spy," "3 Story: The Secret History of the Giant Man"). A Tight plot, believable characterization, and well-executed art means that Matt Kindt's won again.

More info:

Written and illustrated by Matt Kindt
Lettered by Steve Wands

Publisher:

[Zacharie]

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

" The violence and the language stand firm behind a fantastic plot and great characterisation."
Review: Preacher 1: Gone to Texas

One of the great things about comics is that you occasionally come across something that you know would be impossible to create in any other medium. Preacher is one such example – an epic work of fiction that’s too long and too violent to appear in almost any other visual form. Having said this, there has been talk of a film and, more recently, an HBO TV series being made of this, though frankly it’s a travesty that Ennis and artist Steve Dillon aren’t being asked to direct the damn thing.

Preacher 1: Gone to Texas - Jesse and TulipIt’s a difficult tale to squeeze into a nutshell, though this initial book in the series squeezes a lot of back-story into its seven parts. The story revolves around Jesse Custer, the Preacher of the title. Custer is quite unlike most reverends you may have come across, not least because he can speak the word of god, so is capable of commanding anyone to do his bidding. Trouble is, Custer doesn’t particularly like this state of affairs, is in trouble with the law because of a slight problem he had with his church and congregation, and he needs to get it all sorted out. Perhaps embarking on a road trip with an old girlfriend and a bloodthirsty Irishman with some odd personal habits wasn’t the best way to find the answers.


Top billing in this story goes to the dialogue. Some critics have complained that the voice of Jesse is not American enough, but you will be able to forgive Ennis any flaw in vocalising accents. The words are scattered with memorable one liners, copious swearing that somehow manages to avoid being totally gratuitous and the kinds of conversations you can hear the characters having long after you’ve put the book down.

Jesse CusterOne of the other reasons Preacher has garnered attention is that it’s seriously gory. Ennis’s America is a violent gun culture and Preacher pulls no punches in demonstrating what happens when you give every psycho (including the police) the right to carry arms. The carnage is shocking, leaving the book littered with death and grievous injury – this is not a book for a weak stomach.

Having said all this, the violence and the language stand firm behind a fantastic plot and great characterisation. This is a fantastic book we can’t recommend highly enough. Buy it, buy all the others in the series and indulge yourself in a story that has as many laughs as it has surprises, as many heart-warming moments as it has brains spilt onto the floor. Well, perhaps not that many heart warming moments, but we firmly believe that a mature reader with an eye for a tight story will not be disappointed.

More info:

Written by: Garth Ennis
Art by: Steve Dillon
First published: 1996

Publisher:

-

[Zacharie]

Title: Duncan the Wonder Dog (Click to go to the release post)
Writer(s): Adam Hines (Click to see other books from this writer released on this site)
Review source: DAN KOIS (Don't click it, read the review here... )

" After reading this big and bold comic, you may find a new way to look at your dog, your cat, the horse you rode"
Review:

“I need a time machine,” the leader of a terrorist group mutters midway through DUNCAN THE WONDER DOG (AdHouse, paper, $24.95). “Go back to Olduvai — flood it when there’s still a chance.” In this ambitious, beautiful, mystifying first graphic novel by Adam Hines, the unhinged villain has a better reason than most to wipe humanity from the earth: She’s not human. She’s a Barbary macaque who goes by the name Pompeii, and she’s just set off a bomb at a California university. “Duncan the Wonder Dog” tweaks the old song into a provocative new question: What if we could walk with the animals, talk with the animals — and the animals fought back?
Enlarge This Image
From “Duncan the Wonder Dog”

This nearly 400-page volume is, according to its 26-year-old author, the first of a nine-book series. As with so many contemporary graphic novels, its high-­concept story sounds like a movie pitch waiting to happen (“Dr. Dolittle” meets the Baader-Meinhof gang) — but in this case, the deliberate pace and embrace of elision discourage casual reading.

In fact, the book feels less like a movie than the beginning of a knotty, ambitious television drama. Hines builds his world slowly, interrupting his narrative with oblique vignettes, wry parables and gorgeous landscapes. The titular wonder dog — a legend in the animal world who walks upright and has human hands — makes only a brief appearance.

In the meantime, we meet Voltaire, a wealthy mandrill who lives with his human girlfriend and writes fiery op-eds about animal welfare. Vollmann, the head of the federal agency in charge of animal-human relations, posits a link between Voltaire’s shadowy Muir Industries and the terrorist activities of Orapost, the organization Pompeii leads along with Georgios, her fellow guerrilla, a gorilla. Hunting them is Jack Hammond, who years before cracked a case in which Orapost kidnapped a senator’s baby daughter.

If Hines manages to pull this series off, we’ll be watching its plot twist and turn over the next who-knows-how-many years. (The second of nine volumes is not expected until 2014; at that rate, the series would finish in 2042.) But this is a major book all its own — not just because of its scope and scale, but because of the great skill and care that went into making it.


Hines draws sharp, clear lines in pencil and ink, and interrupts traditional comics rhythm with vivid acrylics and jarring collages. Individual sequences shine: a climactic shootout gets a spooky visual treatment, as the ghosts of images from previous pages intrude on the frame — a canny illustration of the way time and memory warp in moments of violence.

Hines’s writing is as captivating as his artwork. He peppers the book with revelatory vignettes conveying the surprising ways this world is different from ours, as when a monkey calls a nature photographer a “perv” and shoos him away. One 34-page section uses the diary of a minor character to meditate movingly on the relationship between humans and their pets, as an aloof house cat stands up for her ill canine partner and demands better care.

Long after finishing “Duncan the Wonder Dog,” I thought back to a throwaway scene early in the book. A monkey sitting in a bar tells his friend the bartender a parable. Apparently, a bird in India, a black kite, felt an otherworldly connection to a red kite in Latvia. Scientists studied the two birds’ flocks and determined that the black kite was lying. “Well some years passed,” the monkey says, “and the colony of red kites went extinct, and the day the last red kite in Latvia died, the black kite died, too. Fell into the ocean, no one knows why.”

The monkey explains the story by pointing out a difference between animals’ perception of the world and humans’. “You say to a human that the sun is either up or down,” the monkey says, “and that human will nod his head in agreement. Two points of entry and you’re done. But there are other points.” After reading this big and bold comic, you may find a new way to look at your dog, your cat, the horse you rode in on. You may ask him: What are you up to?

More info:

Written and illustrated by Adam Hines

Publisher:

[Zacharie]

Title: Aliens/Predator (Click to go to the release post)
Writer(s): John Arcudi (Click to see other books from this writer released on this site)
Review source: wiki (Don't click it, read the review here... )

" The Aliens/Predator Split Issue marked the relaunch of both of Dark Horse's Aliens and Predator comics series"
Review:

The Aliens/Predator Split Issue (aka Aliens/Predator Free Comic Book Day 2009 Split Issue, or Free Comic Book Day 2009 Aliens/Predator Split Issue) was a special comic book published by Dark Horse Comics in May 2009 to commemorate the Free Comic Book Day 2009 event on May 2, 2009. It was produced in flip-book format with a different cover and story making up each side/half of the book.


Both stories were written by veteran Aliens/Predator/AVP writer John Arcudi. The Aliens story was drawn by Zach Howard, inked by Mark Irwin and colored by Brad Anderson. The Predator story was illustrated by Javier Saltares and colored by Wes Dzioba. The issue was edited by Chris Warner and featured covers by Howard and Anderson.

A second version of the issue was released shortly afterward to commemorate the 30th Anniversary of the release of the film Alien featuring an alternate cover by Warner and colored by Dzioba.

The Aliens/Predator Split Issue marked the relaunch of both of Dark Horse's Aliens and Predator comics serieses after a ten-year hiatus and featured prequel stories to the subsequent 2009 serieses for both titles, produced by the same creative teams.

It was followed by the new miniserieses Aliens (May-Dec. 2009) and Predator (June 2009-Jan. 2010). These were in turn followed by the miniseries Aliens vs. Predator: Three World War (Jan-Sept. 2010).

More info:

Written by John Arcudi
Drawn by Zach Howard and Javier Saltares
Inked by Mark Irwin
Colored by Brad Anderson and Wes Dzioba
Edited by Chris Warner
Covers by Howard and Anderson.

Publisher: