[Zacharie]

Title: Clive Barker's The Thief Of Always (Click to go to the release post)
Writer(s): Kris Oprisko (Click to see other books from this writer released on this site)
Review source: Christopher M. Lonergan (Review 1) and Schtinky (Review 2) (Don't click it, read the review here... )

" I recommend this book to anyone and everyone, and I can assure you that it won't be a disappointment. "
Review:

Review 1 - The Thief of Always was the first novel by Clive Barker I ever read, having before known of him only as the man behind such movie greats as Hellraiser (which was a Barker book first). Anyway, it totally blew me away, and Barker is now one of my top authors, and the book is now one of my favorites (which is saying a lot because I'm quite an avid reader). The story centers around a ten-year-old boy named Harvey Swick, who becomes bored with his life and begins to wish the days away. In answer to his prayers, he is taken to a mysterious place called the Holiday House, supposedly built for children who want to have fun. Questions come up in Harvey's mind about what is really going on behind the House's happy-go-lucky exterior, and he is pulled into a horrific adventure beyond his wildest dreams (or nightmares).

I won't give anything more about the story away, you'll just have to read it for yourselves. But there are many pros in this novel, and not one con as far as I see it. The plot is unique and interesting, so much so that you won't want to put it down. It is certainly not slow-paced, and although it is almost 300 pages long it is almost over as soon as it begins, which is really the only bad thing about it. But as soon as you finish you can't help but want to read it again.

The characters are in depth and believeable, the bad guys are majorly cool, unique, and interesting. And they aren't the kind of villians that are super-strong and seemingly impossible to beat, even the worst of them has believeable weaknesses and vulnerabilities.

I recommend this book to anyone and everyone, and I can assure you that it won't be a disappointment.


Review 2 - I have always been a fan of horror, and this was the book I actually read to my son that finally started him on his own road of reading for pleasure. A young boy is unhappy with his life; he doesn't like school and doesn't like his parents, and wishes for a place where he can play all day long and have no responsibilities. He finds that place when creepy Rictus leads him through the mists to a place he has always dreamed of. Kindly old Mrs. Griffin runs a quaint little house, cooking marvelous meals for the boys and girls with her cats. Harvey soon finds that this place is magical, every morning is Spring, every afternoon Summer, every evening is Autumn, and every night Winter. The children play in the warmth of summer, have Halloween every evening, and Christmas every night. He makes friends with Wendell and Lulu, and meets some freakish inhabitants. But when he finally finds the lake with the strange fish, and witnesses Lulu changing, that he realizes this wonderful place is a trap and he cannot leave. He seeks a way out, and with the help of Mrs. Griffin's cats he makes it through the misty barrier, only to find that for every day that passes in the House, a year passed in the outside world. Harvey must set things to right again, and that means returning across the misty barrier and confronting the dreaded Mr. Hood. A very enjoyable read, and surprisingly good to read to older children, especially those who may be unhappy with school. Sometimes, you get what you wish for, only to find out its not what you really wanted....

More info:

Created by Ckive Barker
Written by Kris Oprisko
Illustrated by Gabriel Hernandez

Publisher:

[Zacharie]

Title: Blue Moth (Click to go to the release post)
Writer(s): Rolf Lejdegård (Click to see other books from this writer released on this site)
Review source: Jason Newcomb (Don't click it, read the review here... )

" Blue Moth is a book to read and Rolf Lejdegård is a creator to watch."
Review: Blue Moth #1

Blue Moth is a relentless and irreverent cosmic sci-fi action comic with its foot decidedly shoving the pedal to the floor. Should you survive the G-force, you’ll come out the other end of the trans-warp jump a satisfied fan. If Jonathan Hickman had Mark Millar’s sense of humor he might write something a little like Blue Moth. Writer and artist Rolf Lejdegård struts his mania like a punk would a flag. Not so much out of pride but from a place of sheer nerve, inspiration and in-your-faceness. A look at the script pages included within this con-only promotional copy of Blue Moth #1 leads me to believe the idea was conceived in a caffeine-induced state of mischievous paranoia.

Blue Moth takes place in the distant future on the outskirts of the Andromeda galaxy. In this first issue, the Macguffin is immediately introduced at Ridge of Hamogen on the planet Hamo-Nox amidst bloody carnage wreaked by a large wrinkly, turtle-neck armored alien. “Protect the eye at all cost” screams a smaller alien. They are his last words. “The Eye” it turns out is an uber powerful weapon and the bad news is that it has been stolen. Meanwhile on the planet Neeoe, the city of Neportunea is being attacked by the warmongering race known as the Noseru. The Neportuneans mount a defense but stand no chance against the Noseru’s WMD, a death-beam wielding clitoral monster.

The Flea – a bald humanoid female piloting a more insect-like X-wing – is signaled to provide artillery support but death lasers are keeping her occupied. She in turn calls upon Blue Moth, a genderless and possibly mercenary android currently commiserating with the universe’s consciousness while seated deep within it’s womb. Said Universe warns Blue Moth of some impending danger he (it?) will face. But the android couldn’t be bothered: “Duty is calling. Destruction is to be enjoyed”. Blue Moth comes to the ambushed city’s aid, easily kills the war slug and uses its entrails to quickly dispatch of the invading army all while carrying a rescued baby on his back.


It would appear Blue Moth is quite invincible and unique in design but surprise surprise, the slug’s offal evidently houses a secret weapon know only as “The Black Snail”. Upon returning the infant to his parents, the Neportunean Queen formally thanks Blue Moth. But the android isn’t flattered. “I scanned the palace your Highness, and it was evacuated a full 8 minutes before the Noseru arrived”. It would appear there is a conspiracy afoot and Blue Moth will have none of it, He summarily executes the Queen. The Flea yanks Blue Moth out of the melée and confronts him on her ship while they make a getaway. “Do you have any idea what kind of Shit-Storm you’ve just started?!” she yells. The killer is non-plussed and leaves the ship but is shot down by the alien from the book’s first scene. The weapon used? The Eye of course.

If that seems like densely packed story-telling, the artwork is made to match (click the cover image on the right for a slide show of Blue Moth interior art). The character designs look like the hypnogogic hallucinations of a fretful teen-aged insomniac. The action itself is a deliberately doodlesque chaos of manga-inspired speed lines and Kirby crackles. But with more intestines. Anime meets Adult Swim with peripheral glimpses of a cartoon Dune novel come to life. The criminally small format of this book and poor printing job does not do the project justice. Blue Moth needs to be standard format at least or showcased in a euro-comic mag such as Heavy Metal or Humanoid.

Blue Moth rides the razor thin edge separating absurdist irony and good ol’ action sci-fi. Where it excels is in its expert balance of humor, violent action and dense plotting. It’s a “big ideas” book that keeps you hanging on – despite its general opaqueness – by making you feel like you’re in on the joke. One very much gets the sense Rolf knows he can write a smart and complex book, but he remembers his priority is to entertain. The book isn’t without some flaws. Most notably, it may be trying too hard to be cool and clever while the packaging and presentation are subpar. Additionally, the whole thing could use a little tightening of the reins as it is sometimes more chaotic than it needs to be. But in the end the book won me over with its raw inspiration and explosive creativity. Blue Moth is a book to read and Rolf Lejdegård is a creator to watch.

More info:

Writer: Rolf Lejdegård
Artist: Rolf Lejdegård
Letterer: Stephen Lindsay
Cover Artist(s): Rolf Lejdegård

Publisher:

[Zacharie]

Title: Seven Psychopaths (Click to go to the release post)
Writer(s): Fabien Vehlmann (Click to see other books from this writer released on this site)
Review source: Sam Quixote (Don't click it, read the review here... )

" A great read and highly recommended."
Review:

1942 and the Allies are desperate to end the war. The only way they can see is if they cut off the head, the body will die, in this case - kill Hitler. But to attempt something so dangerous you'd have to be... crazy.

Enter 7 Psychopaths, a mission featuring, yes, 7 psychopaths, each with a different dangerous neuroses that makes them unable to function normally in society. These men and women, with nothing to lose, are set loose behind enemy lines with the mission to take down the Fuhrer and end the war. But will their own problems overwhelm themselves and threaten the success of the mission?

This hugely enjoyable book features the writing talent of Fabien Vehlmann who wrote the "Green Manor" series and more recently Jason's "Isle of 100,000 Graves", while veteran comics artist Sean Phillips (Criminal, Incognito) adds his unique drawing style to this book. The excellent colourist Hubert completes the dream team and his work is among the best I've seen him do in this book.


The setup is constructed remarkably well in the first part but unfortunately due to the shortness of the run (3 issues) the next two parts rush the story causing it to feel compressed and undeveloped. That said, there are numerous set pieces that are superb and feature enough twists and turns to make any well-read comics fan to question where it's all going, it's just a shame it wasn't six issues instead of three to allow the characters and plot to breathe a bit more.

This book is a must read for fans of alternate takes on WW2 and original comic books with fantastic writing and art. I enjoyed the hell out of it and found myself laughing at the best moments and fascinated by the more interesting ones. A great read and highly recommended.

More info:

Fabien Vehlmann (Author)
Sean Phillips (Illustrator)

Publisher:

[Zacharie]

Title: Lovestruck (Click to go to the release post)
Writer(s): Dennis Hopeless (Click to see other books from this writer released on this site)
Review source: Wendy Holler (Don't click it, read the review here... )

" Its energy, its cleverness, its motifs: all of these are well worth the time spent with it."
Review:

Lovestruck works because it's likable. The comic's tagline ("Love is all around us. These are the pricks who control it.") implies the kind of edge that thumbs its nose at such a simple adjective, but don't let the sales pitch fool you. This is a warm and comfortable comic, at least for categories of comfortable that involve f-bombs and orgies.

Lovestruck, a black and white original graphic novel, follows Kalli Monroe, a young woman who suddenly receives the power to influence desire in others. She agrees to work for Cupid, the man in charge of desire here on earth, and she and her teammates engage in what the comic calls corporate espionage. They ruin major deals, lend charm to politicians, and muck around in all kinds of creative endeavors partly because of their own extensive financial shares, but also partly just because they can.

The plot requires all kinds of hand-waving to make sense, but the supporting bits sell the story. Kalli grew up with the punk rock movement, and the pictures she took of her friends during that time made her a famous photographer. That move, from love to work, from rebellious and selfish enthusiasm to disciplined and respectable technique, is the interesting secondary text here. Part of the ground that the comic covers is the uncertain area of young adulthood just after the crucial stage of first successes and first failures. While the agents of desire can influence hundreds of others at a time, they've been unsuccessful at recognizing and satisfying their own emotional needs.


This could produce a story that's horribly dull, but the writing is funny, sharp, quick. This is a comic where Ovid wears a suit, cracks jokes, and rides a skateboard, where a character can use the term punkutant without making you want to scream, where gods are what you loved when you were young. At other times, the writing sometimes falls into too-cool-for-school patter that sounds like the worst kind of hipster nonsense. The art follows this same pattern. Sometimes the panels are clever and suggestive. At other times, they're just plain literal, all money shot and exploitation. Considering that much of the book's theme concerns technique, it's ironic that the technique of the comic is uneven itself.

Lovestruck is at its best when it manages to blend wry humor with an earnest approach to its subject matter. In these moments, as when Kalli complains to a younger teammate that "You, Laynie my sweet, are the reason 25 feels old and slow," the character is vulnerably funny and also clearly flummoxed by the age of life when even marketers insist that you're an adult. World weariness is a difficult tone to hit, particularly in a comic with mostly young protagonists, but it's these world-weary youngsters whose voices and action ring true. The dialogue is winning, and the verbal and visual tics of the characters are effective. The settings might not make much logical sense, but a punk rock party and a rock the vote concert make perfect sense in the emotional landscape of the story.

In its ending, the comic shows Willingham's sensibility, but only Disney's teeth. (Not the Bambi's mom version of Disney's teeth, more the Cinderella version of Disney's teeth.) With Ovid as a main character, with punk rock as a set of working symbols, with characters that are laugh-out-loud funny, the narrative bar was set pretty high for wrapping things up. For me the ending was too pat and too neat, but as the comic argues at one point, maybe now that I'm one of the grown-ups, the comic just isn't talking to me here. Maybe liking the ending means being young enough to take happiness at face value, being hopeful enough to trust that everything will work out in the end.

More than anything else, the comic is fun. Its energy, its cleverness, its motifs: all of these are well worth the time spent with it. The book can appeal to all mature readers, but I suspect will resonate most strongly with those who can look at a threesome making out on a car hood and think "hot" rather than "man, she is so not balanced at that angle."

More info:

Written by Dennis Hopeless
Art by Kevin Mellon

Publisher:

[Zacharie]

Title: Spell Checkers (Click to go to the release post)
Writer(s): Jamie S. Rich (Click to see other books from this writer released on this site)
Review source: Roger Shingler (Review 1) and Johanna (Review 2) (Don't click it, read the review here... )

" I enjoyed reading the cattiness; it’s exaggerated fun. "
Review:

Review 1 - This latest collected edition from the excellent Oni Press begins with a short sequence introducing the three main characters as they renew their witch-vows in order to maintain the crucial bond between them that gives them their powers — powers that are inextricably linked with the doll that each of them possesses. We then cut to the girls at school as one of them discovers that someone has daubed abusive graffiti on her locker. The story unfolds as the three attempt to discover who is responsible while using their witch-powers in increasingly desperate bids to retain their waning popularity.

In less expert hands, the supernatural element could be seen at times to be merely a device by which the creators attempt to make more exotic and sexy what is essentially a teen comedy-drama, replete with the requisite pratfalls, conflicts and moments of cringe-worthy awkwardness that define the genre. However, the narrative is deftly handled and perfectly paced to ensure that pages are kept turning, while the wise-ass humor flows thick and fast. The dialogue is sharp, witty and well observed, and the manga-influenced artwork is perfectly suited to the material, at first glance appearing sketchy and throwaway but, on closer reading, revealing depth, detail and subtlety of expression and character.

Ultimately, though, Spell Checkers is a smart, sassy comic book for worldly teenagers. It might not change your life, but, if you enjoy a thick streak of pitch-black comedy running through your supernatural teen drama, Spell Checkers will work its magic every time.


Review 2 - What if teen witches acted like real teens, mean and bitchy and selfish? That’s the appeal of this black-and-white graphic novel, out later this month from Oni Press.

Three girls cast a spell to give them power, vowing to be best friends forever. Now they’re in high school, and the way they rule the school is being questioned. Normally, they send duplicates to gym class and magically copy homework, but their spells aren’t working. Graffiti calls them names, they’re fighting over a guy, and in general, they’re cursed.

I like this story for demonstrating understanding of high school girl psychology. It’s remarkably easy to convince the witches that one of them is responsible, because underlying their powerful facade is fear and jealousy, based in the knowledge that they don’t deserve what they have. They’re forced together, and they don’t really like each other all that much any more. The friends you have when you’re young aren’t necessarily the ones you want to keep your whole life, and people change a lot, especially during high school.

While there’s a lot of enjoyment to be had in seeing spoiled brats get theirs, I was surprised at how I was rooting for Cynthea, Kimmie, and Jesse to win, even when it took lying and back-stabbing to do it. I attribute that to the writer’s skill at quickly and effectively creating realistic voices. Plus, Jamie Rich writes funny dialogue, like this favorite exchange:


Who do we know that hates me and is a bad speller?
The whole school. Have you seen our standardized test scores lately?

I was reminded of Killer Princesses, only younger. I get the impression that these girls would act the same way with or without magic; if they didn’t have spells, they’d just find other ways to cheat on tests and screw people over. (As confirmed in a flashback sequence; those are illustrated by Joelle Jones.) Visually, the artist makes the girls look cute and friendly, not the demonic self-obsessives they are. I enjoyed reading the cattiness; it’s exaggerated fun.

Greg McElhatton calls the book “gleefully mean-spirited” and says the bitchier you like your Mean Girls, the more you’ll like this

More info:

Written by Jamie S. Rich
Illustrated by Nicolas Hitori De

Publisher:

[Zacharie]

Title: A Skeleton Story (Click to go to the release post)
Writer(s): Alessandro Rak (Click to see other books from this writer released on this site)
Review source: puyaybusto (Don't click it, read the review here... )

" I can not wait for more."
Review: A Skeleton Story #1

“A Burtonesque noir fairy tale… Will Musil, Burma, Scarlett, Jack, and John are no longer tenants of the world of the living. They’re dead. While each faces their role in the afterlife differently, Will seeks his own redemption in the underworld as a detective, at the service of the ‘Old Lady.’ A wonderful opportunity presents itself one day when two unwanted guests crosses the border between worlds: a little girl and her cat… “

Artwork: 4.5 out of 5
Stunning…that’s really all I can say. When I saw these upcoming books from GG Studio in Previews all I could think was how great they looked. Now I have had the opportunity to see all 28 pages of this issue and I am just so content. The cover kinda sells the concept. A fun playful looking world full of skeletons. Well it starts off with people, but you know. The colors are the selling point on this one. The are just phenomenal. My eyes are still singing praises for this one, as the artwork just falls into what I look for in a comic.

Story: 4.0 out of 5
Lately all I seem to be asking myself is, how can I get more European comics on my hands? Luckily these modern gems are starting to be allowed into our American comic routine. So blah, blah, blah right? Wrong, this book can be at times different, but it’s only because we are not used to this style of storytelling. Basically to try to sum this concept up, it’s different and it works. It is not all out horror, matter of fact low on horror, just monsters as the cast, but it builds into this fun mystery over 28 pages. A great story is in the works here with some nice dialogue work, so a tip of the hat to the translators as well.

Dying Breath: 4.5 out of 5
Flat out great artwork and a fun mysterious story make this one a great grab. I can see people passing on it saying it looks too childish, but I have to say that it is anything but. The story builds nicely as it goes along and I know I will be on hand to enjoy it as it does. I know these imported stories may not appeal to most, but I say give one a chance. They are different and very well done. I can not wait for more.

More info:

Plot/Environment: Alessandro Rak
Layout: Alessandro Rak, Andrea Scoppetta
Pencils: Alessandro Rak
Colors: Alessandro Rak, Andrea Scoppetta
English Translation: Andrea Plazzi, Adam McGovern
Letters: Studio Blue
Editor/President: Giuliano Monni

Publisher:

[Zacharie]

Title: Modesty Blaise Death Trap (Click to go to the release post)
Writer(s): Peter O'Donnell (Click to see other books from this writer released on this site)
Review source: WIN WIACEK (Don't click it, read the review here... )

" Material like this can’t fail to attract a broader readership to the medium."
Review:

Modesty Blaise and her devoted deputy Willie Garvin were retired super-criminals who got too rich too young without ever getting too dirty and are now usually complacent and bored out of their brains. When approached by Sir Gerald Tarrant, head of a British spy organization, they jumped at his offer of excitement and a chance to get some real evil sods. From that tenuous beginning in ‘La Machine’ (see Modesty Blaise: the Gabriel Set-Up) the pair began a helter-skelter thrill ride that has pitted them against the World’s vilest villains…

The legendary femme fatale adventurer first appeared in the Evening Standard on May 13th, 1963 and starred in some of the world’s most memorable crime fiction, all in three panels a day. Her creators Peter O’Donnell and Jim Holdaway (who had previously collaborated on Romeo Brown – a light-hearted adventure strip from the 1950’s and itself well overdue for collection) produced story after story until Holdaway’s tragic early death in 1970, whereupon Spanish artist Enric Badia Romero assumed the art reins taking the daredevil duo to even grater heights.

The tales are stylish and engaging spy/crime/thriller fare in the vein of Ian Fleming’s Bond stories (as opposed to the sometimes over-the-top movie exploits). Modesty and Willie are competent and deadly, but all too fallibly human.

Following an intriguing dissertation by fan and historian Lawrence Blackmore on how the strip was censored in America (entitled ‘Preserving Modesty’s Modesty’ ) this twelfth superb black and white volume, collecting strips which originally appeared in the between October 21st 1976 and January 20th 1978, kicks off in high style with the entrancing but ultimately tragic yarn ‘The Vanishing Dollybirds’ wherein the duo are drawn into a web of Arabic white slavery, administered by the frightfully British and thoroughly unpleasant Major Hamilton and his formidable wife Priscilla, not to mention their uniquely fey hitman and murder-artisan, Bubbles.


Combining high-octane drama with sly comedy and all the charms of the circus (Willie bought one when he was feeling bored…) this is a cracking, straightforward tale which acts as pace-setter for ‘The Junk Men’, a moody murder mystery set in Turkey. Willie is playing stuntman on a science fiction film before getting accidentally embroiled in a war between the police and the world’s three biggest drug lords. And whenever Willie is in trouble can Modesty be far away?

Closing the book is a truly sinister plot from a vengeance-crazed Warsaw Pact commissar determined to punish Modesty for past offences in the gripping, brutal thriller ‘Death Trap’. Comrade Director Breslin wants the retired super-criminal to suffer so he begins his campaign by murdering her current lover in the most appalling manner he could conceive of, but the ambitious politician could never imagine just how dangerous an angry Modesty Blaise could be…

Tightly plotted, with twist after turn, and cross after double-cross, this is no simple revenge story but a sharp, incisive romp that uses the madness of the Cold War “Mutually Assured Destruction” philosophy to great advantage and devastating effect…

In an industry where comic themes seem more and more limited and the readership dwindles to a slavish fan base that only wants more and shinier versions of what it’s already had, the beauty of such strips as Modesty Blaise is not simply the timeless excellence of the stories and the captivating wonder of the illustration, but that material like this can’t fail to attract a broader readership to the medium. Its content can hold its own against the best television and film. NCIS, Chuck Bartowski and Sydney Bristow beware – Modesty’s back to show you how it should be done…

More info:

Peter O'Donnell (writer)
Jim Holdaway (art)

Publisher:

[Zacharie]

Title: Hotwire-Requiem for the Dead (Click to go to the release post)
Writer(s): Steve Pugh (Click to see other books from this writer released on this site)
Review source: Greg Burgas (Don't click it, read the review here... )

" It’s very neat to see such an insane comic that also works as a good story."
Review:

In case you’re new to the blog, I’ll get you up to speed on Steve Pugh. A few years ago he did a little book called Shark-Man, which began with a tiny little publisher in conjunction with Image but didn’t sell a lick. Shark-Man, if you can’t tell from the title, is quite possibly the greatest comic book ever conceived by sentient beings, and I like to think it was just too awesome to survive. (If you’re at all interested, I “reviewed” all three issues: #1, #2, and #3, although only the first one is a proper review. The last two are paeans to the awesomeness of Shark-Man. You’ll note it took two years for three issues to come out. That might have had something to do with its demise.) After the death of Shark-Man, Pugh moved on Hotwire, a comic based on a script that a certain Warren Ellis wrote 20 years ago. Pugh explains in the introduction that he kept tweaking it after its original publisher fell apart, and then Radical Comics decided the time had come for the world to know Alice Hotwire! And lo, a four-issue mini-series was released, followed by this trade (which costs $14.95, a good value considering there are a lot of extras). As I wrote when I reviewed the first three issues, if Shark-Man had to die, at least Pugh can work on a story about a detective exorcist. She’s a detective exorcist, people!!!!!!!

The concept of Hotwire is a great hook. In the near future, the dead don’t go very far after they die. They hang around, attracted by all the electronic devices humanity is addicted to, and become “blue-lights” – forms of electro-magnetic energy. Alice Hotwire is the police exorcist tasked with cleaning them up. London (where the story is set) has suppressor towers which keep them away from the swankier neighborhoods, and they can’t break out of ceramic tombs, but they still float around the crappier neighborhoods, occasionally causing trouble. That’s when Alice comes in. It’s a nice, simple concept that has the potential for dozens of stories. Pugh is already working on a sequel to this story, after all!

The story is a straight-forward police procedural, as Alice investigates an unusual blue-light incident which seems isolated but really isn’t. As she explains, many things about the incident are “impossible,” which only makes her grumpy, because Alice lives her life by the rules of science, and anything that goes against those rules vex her. Meanwhile, someone leaked a video of two cops beating up some immigrant kids and the city is a powder keg. Throughout the book, the protesters slowly turn into rioters and move more and more to the forefront. We know that, as this is a fictional tale, everything is connected, but Pugh does a nice job with revealing the machinations of the plot slowly. Alice and her reluctant partner, Mobey, follow each lead to the next and learn a bit more as they go along. The cool thing about the book is that Pugh doesn’t do many info-dumps – at every turn, Alice finds something that challenges her idea of the status quo, so we get to learn about the blue-lights and how to deal with them because Alice can’t do that in this case. She has to improvise, which she doesn’t like. Along the way, we learn a little bit about her family and how she became such a hard-ass. The only really creepy part of the book (the most “ghost-story”) is when her dead mother keeps calling her cell phone and leaving messages. This also is a plot point that helps set up the sequel.


While the story is interesting, Pugh also does a fine job with the characters. Alice is a neat invention, in that we think she’s going to be a female version of the archetypal Warren Ellis character, but Pugh goes a bit further away from this, which is nice. She’s a bad-ass, of course, and she loves her science, but Pugh does a good job giving her a compelling and tragic backstory, from her odd upbringing in a scientists’ enclave to the way her mother died and the aftermath. She’s more interesting than many of the Ellisian male characters because Pugh allows her to get flustered and try to work things out using her brain instead of bad-assing her way through things. It’s a nice mix of the Ellis archetype and the more humanizing hand of Pugh. The partner he gives Alice, Mobey, is a good cop but definitely isn’t pure – he’s on a pseudo-suspension because he punched out on of the protesters on camera. Mobey is a salt-of-the-earth cop who Alice recruits as her muscle, and the two of them build a nice relationship throughout the series, with Mobey’s superstitions about ghosts playing well off Alice’s insistence on dealing with blue-lights as scientifically as possible. Pugh also brings in a Darrow, the new city commander, who has been thrown into a dire situation (what with the rioters and the crazy blue-lights running around) but does the best she can. Darrow could have been a stereotypical corrupt cop (her predecessor appears to fit this mold, but he’s not a major character) or someone who is totally sympathetic to Alice, but she’s neither. She’s someone doing the job however she can, and while she hates the two cops who beat the immigrant family and sparked the protests, she’s also damned if she’s going to let them get killed by the mob. As with the other main characters (including some of the ghosts), Pugh does a nice job presenting them as real people and not just plot devices.

Pugh’s art is, of course, phenomenal. He’s always been a good artist, but recently, as he explains in an interview in the back of the book, he’s been painting a lot more, and the effect is fantastic. We some of his older pencil work on Alice, and while it’s perfectly fine, it’s nothing like what we see in this book. Whereas some painted comic art looks stiff and posed, Pugh does a wonderful job making this book fluid. Everything seems fully integrated into the landscape, and the facial expressions, which are often tough to pull off in painted work, look great. Pugh’s work with the blue-lights is tremendous, as well. We get very creepy apparitions, from the girl who possesses the man in the book’s opening sequence to the skeleton underneath the cemetery where the worst criminals are interred. There’s a dragon ghost that is wonderfully brought to life, and the final sequence is a magnificent work of explosive action and tense violence. Pugh’s wacky imagination coupled with his mastery of his tools make this a fantastic book to look at. It’s a very cool achievement.

I’ve liked some Radical books and not some others. This is, so far, the absolute best book they’ve published. It’s a wild ride, full of cool ideas and beautiful art. It’s very neat to see such an insane comic that also works as a good story. I’m keen to see what else Pugh has up his sleeve in the sequel.

More info:

Creators: Steve Pugh & Warren Ellis
Based on a story by Warren Ellis
Alan Brooks cover
Andrew Steven Harris editor, other, production
David Elliott editor, other
Luis Royo cover
Steve Pugh writer, artist, letterer, cover, other
Stjepan Sejic cover
Warren Ellis writer, other

Publisher:

[Zacharie]

Title: G.I. Joe - Future Noir (Click to go to the release post)
Writer(s): Andy Schmidt (Click to see other books from this writer released on this site)
Review source: Eugene Bradford (Don't click it, read the review here... )

" I wasn’t feeling the story at all and would not recommend this book."
Review:

If you follow comics or even just G.I. Joe, you’re likely aware that IDW Publishing has been holding the comic license for Hasbro's long-standing toy-line for a few years now. In that time, they have not only published several new Joe titles of their own, but they also continued where the Marvel's fan-favorite series left off. Future Noir is represents the former as it is Hasbro and IDW’s effort to introduce the highly trained special mission force into the realm of manga.

The Joe team for this tale has Duke leading Roadblock, Scarlett, Sci-Fi, and Helix while General Hawk is hanging out at headquarters. The silent ninja, Snake Eyes, is not a member of this Joe team. However, he does leave his mark in several panels. He is accompanied by the Hard Master and the rest of the Arashikage Clan.

Some of the more interesting changes deal with Sci-Fi. His natural legs are gone, although he does possess a set of legs to attach to his lower torso. At one point, he attaches to wheel to move around on. He also seems to possess some sort of visual transformation that allows him to examine a specimen he finds. The details of this are not explained, so the reader is left to believe that he was a victim of Cobra’s malevolent plan.

The story takes place in Japan as our small unit of Joes takes on the Cobra organization headed by King Cobra. Cobra had been killing then abducting people and sacrificing them to serpent gods. The plot sort of drags as the team investigates Cobra’s evil plans. Fans will recognize a small subplot as Serpentor shows up later and takes over as leader. However, this takes place much too late in the book to have any effect and appears to only tease readers for another story that won’t be happening.


If you are looking for some of that Joe vs. Cobra action we’ve all loved over the years, you won’t find it here. After the initial shoot-out with “insurgents” as they were called, most of the action from there involves the team battling some of Cobra’s monstrous creations. One of those fights has them engaging a giant snake in the middle of the city.

King Cobra, or Cobra Commander if you choose, is not without his followers as he has a loyal legion of Vipers. They all have a uniform look (as they should) consisting of bald heads and long jackets. The evil entity isn’t short on star power either with Baroness and Dr. Mindbender getting in on the action. Nemesis Enforcer, who made his debut in the 1987 Joe movie, makes a surprising appearance here.

The G.I. Joe franchise has maintained its large fan-base over the years due to several reasons, one of which is the extensive roster the team has built. But, as many readers would likely prefer, a smaller group of characters prevents a story from becoming too packed and unfocused. With a smaller group, you can explore their personalities better than with a larger squad. However, you really won’t get that too much here. But we do get a glimpse at several connections between members of the team.

This edition of Future Noir collects the two volumes, previously published individually, into one book. Andy Schmidt handled the writing duties and Giacomo Bevilacqua took care of the art. Robbie Robbins and Dave Sharpe lettered this Joe tale. Upon handling the book, you’ll notice it doesn't read as manga typically do. It reads in the more Eastern fashion of left to right. My guess would be the creators decided against the standard presentation to entice Joe fans to read manga, but maintained the visual style in hope that manga fans would try an American property. The latter group will be right at home as Bevilacqua’s style matches that which manga fans have appreciated.

I picked this up because I have been a longtime G.I. Joe fan and was curious about it receiving the manga touch. I wasn’t feeling the story at all and would not recommend this book. I am quite sure my love for the franchise is what carried me through this story.

I give Future Noir 1 out 5 stars.

More info:

Writer: Andy Schmidt
Artist: Giacomo Revilacqua

Publisher:

[Zacharie]

Title: Locke & Key – Guide to the Known Keys (Click to go to the release post)
Writer(s): Joe Hill (Click to see other books from this writer released on this site)
Review source: MK2Fac3 (Don't click it, read the review here... )

" If you think this is just going to be some lame catch-up one shot, trust me when I tell you that you are wrong."
Review:

Every week of the year, new comic books hit store shelves and digital store fronts. Some of those comics have been going on for a while, and some of them haven’t. One of the comics that has, however, is Locke and Key. Written by Joe Hill with art by Gabriel Rodriguez, Locke and Key is probably my favorite comic being published today. But the only problem with the comic having gone on for as long as it has is that, well, it’s not very friendly to new readers. And even those readers who’ve been there since day one might get a little off track by the different parts of the Locke and Key mythology. And oh my goodness! There are so many keys! How can we decipher between them!?

Well friends, IDW Publishing has got you covered. This Wednesday, IDW and Locke and Key will be releasing a one-shot comic entitled Locke and Key: Guide To The Known Keys.

It’s not uncommon, in fact, to do this kind of one-shot catch-up to add more focus to certain aspects of the story, especially considering the dense mythology of the series. As the title states, there will be a rundown on all the new keys, but there will also be some more light shown on the history of Keyhouse.

If you think this is just going to be some lame catch-up one shot, trust me when I tell you that you are wrong. There’s also going to plenty here for die-hard readers. So, join me in welcoming the comic with open arms as we both go over to io9 to check out their exclusive six-page preview of the upcoming comic. But first, look at the incredibly gorgeous cover art.

More info:

Writer: Joe Hill
Artist: Gabriel Rodriguez
Cover: Gabriel Rodriguez

Publisher:

Locke & Key comics released on mobilism ----->

[Zacharie]

Title: Grifter (Click to go to the release post)
Writer(s): Nathan Edmondson (Click to see other books from this writer released on this site)
Review source: Minhquan Nguyen (Review 1) and Cal Cleary (Review 2)(Don't click it, read the review here... )

" An enjoyable action book that can go in some fascinating directions."
Review:

Review 1 - Grifter #1 - The Story: Ghosts on a plane.

The Review: For years, I had little familiarity with any comic that didn’t belong to the Big Two publishers. Even so, among the hordes of titles featuring Batman, Superman, Spider-Man, and the X-Men, I could pick out one prominent, unfamiliar face: a blond man, dual pistols a-blazing, a red and black cloth covering his face. While hardly an icon like the aforementioned characters, Grifter is the face of the Wildstorm universe, and has a respectable status of his own.

In DC’s efforts to promote its acquired Wildstorm properties, Grifter is thus the obvious choice to get his own solo. But the renewed DCU is quickly becoming a crowded place, and it’ll be a struggle for him (or any lesser-known character, for that matter) to scrounge out a special corner for himself. What can he bring to the table that we can’t find elsewhere? Why does he deserve a spot on the stands next to Green Lantern and the Fantastic Four?

Jumping out of a plane after plunging a pointed instrument into a passenger’s eye and before cracking the neck of a flight attendant is a good start. Really, you don’t get more wakeful openers than that. The sequence has all the marks of a strong, tense in medias res intro: instant action, a bewildered understanding of events, and a gripping protagonist. By the time you hit the splash credits in midair, just above the ocean, you’ve already half-invested yourself in his fate.

Edmondson then smartly takes us back to Cole Cash’s quieter days, though you can hardly classify even those as normal. Even before Cole takes on the name, his talent for confidence tricks has already earned him a rep as an impressive grifter. That said, the con sequence comes laden with logistical confusion. You don’t know the target’s identity, the nature of the faked transaction, or even what he gets out of it (since the money he’s given turns out counterfeit).

Anyway, the real tension lies in what kind of forces have caught Cole in their grip, and why. His waking up in an abandoned warehouse save for a tank containing a translucent, glowing alien figure manages to get across a vague sense of the horrifying changes he unconsciously went through. But despite the terrible reach of his invisible foes, we still have little idea of their actual danger, except some slightly overdramatic mantras: “Disturbed…transfer …devour…presence.”

Then we also have the extra wrinkle of the U.S. government chasing his tail, for reasons beyond Cole’s inadvertent terrorist attack on a commercial flight and several murders. With all this craziness going on, and the backburner mystery of Cole’s forgotten seventeen days (or minutes, or hours, as he states at the end of the issue), it looks like he’ll have to deal with it on his own, with no help from his impatient lady or his more straight-laced brother.

If you’ve seen any of his work on T.H.U.N.D.E.R. Agents, you know very well that Cafu is an undisputed master of suspenseful storytelling. His dynamic use of POV skews the imagery, making the art as disorienting as the story’s events, and he can communicate volumes with just the slightest detail in his characters’ fully-formed features. At the very least, the presence of Cafu ensures this title will be one of the most distinctive-looking on the shelves.

Conclusion: A lot of promise abounds in the solid script, the engaging pacing, and tremendous art, but you can fill a thimble with what we know by the end of the issue. The next issue will have to do double-duty to fill the crucial gaps.

Some Musings:

- I don’t know how Grifter got his mask in previous continuity, but it receives a pretty righteous origin story here.
- Some people may scoff at the use of combed hair and glasses as a disguise, but let me tell you from personal experience: it can be night and day if you play your cards right. In this issue, not so much, but the addition of a cowboy hat helps.


Review 2 - Grifter #2 - Last month, I was just about the only person alive to give a positive review to Grifter #1, a super-hero/conspiracy thriller mash-up from Nathan Edmondson and CAFU. This month probably won’t be much different, though my praise will be a bit less effusive: while Grifter #2 is a very exciting issue, it can’t quite make two important subplots work, leaving us stranded with a thrilling premise and solid art and not much else. There’s enough here to keep me interested, but it needs to start coming together

The story this week is slight, though there are some intriguing hints at a larger mythology. There was never much doubt that Grifter’s ability to see the shape-shifting alien invasion no one else can notice was real, but this issue confirms it: the Daemonites are real… and the military knows it, though it is unable to identify them. Nathan Edmondson does a good job of piling on new mysteries as quickly as he answers his old ones, but the issue comes to a halt when we return to the silly subplot of Grifter’s spec-ops brother hunting him down (and finding him immediately).

Cafu, Gorder and Dalhouse step it up a notch on art this issue, improving significantly over last month’s more mundane outing – the three-page fight between Cole and the possessed police officer is dynamically drawn, vivid and thrilling, and a car crash later in the issue is somehow just as exciting as it would be in any Hollywood blockbuster. Edmondson seems dedicated to giving us some pretty thrilling espionage action, so it’s nice to see the art team can execute those sequences with flair.

Grifter #1 had to dedicate the entirety of its page-space to setting up its premise - shape-shifting aliens are infiltrating Earth, and only Cole Cash can see them – which seemed to damage the flow of the book for a lot of people. Me, I enjoyed the classic sci-fi espionage set-up, and I enjoyed it here too. If Edmondson can move past the extraordinarily bland ‘brother vs. brother’ conflict he has set up with Cole and Max or the melodrama of Cole’s relationship with Gretchen (or make either plot more engaging) and start digging into the more thrilling conspiracy angle a little faster, he could have a real winner on his hands. As it is, he still has an enjoyable action book that can go in some fascinating directions.

More info:

Nathan Edmondson (writer)
Cafu (penciller)
Jason Gorder (inker)
Andrew Dalhouse (colorist)

Publisher:

[Zacharie]

Title: The Light (Click to go to the release post)
Writer(s): Nathan Edmondson (Click to see other books from this writer released on this site)
Review source: Rick Marshall (Don't click it, read the review here... )

" The story behind The Light is the sort that will keep its audience on the edge of their seats... "
Review:

When looking into the light becomes the most dangerous thing you can do, there's a great idea for a movie lurking somewhere in the darkness.

With Hollywood turning more of its attention to the world of graphic novels for inspiration, I'll cast the spotlight on a new comic book each week.

This Week's Book: The Light by Nathan Edmondson and Brett Weldele

The Premise: What if the light was your enemy and the darkness was your only safe haven? When something begins causing anyone who looks into the light to spontaneously combust, an unemployed welder and his teenage daughter set off across Oregon to escape the dangers of an artificially illuminated world. What they soon find out is that the light isn't the only threat that's out there.

The Pitch: It goes without saying that a compelling sci-fi thriller that doesn't require much in the way of creature effects or computer-generated elements is bound to be appealing for studios. Match that with a tense narrative that propels its characters forward at a frantic pace, and it's easy to why a story like The Light could make a great movie.


In many ways, Edmondson's story is a lot like Stephen King's The Mist, with the main characters facing danger from both the mysterious, external forces out to get them and their fellow humans dealing with this deadly scenario. Coyle, the main character, is an unlikely hero thrust into a situation he clearly has no idea how to handle -- forced to play the roles of father and protector for his daughter, and someone who's looked to for guidance by other people.

A film based on The Light could also provide a nice showpiece for an actor looking to establish his leading-man credibility, as the lack of any major "creatures" leaves the lead actors responsible for conveying the fear, tension, and various other emotions spawned by their characters' predicament. And while there is some visual element to the "villain" of the story, The Light is the sort of horror story that relies more on its cast and director's skills (and audience's imagination) than what appears on the screen.

The Closing Argument: While some might compare it to the upcoming alien invasion film "The Darkest Hour," a movie based on The Light would offer a decidedly more personal take on the "light is your enemy" tale, with more attention paid to the father-daughter relationship of its main characters than the special-effects elements. The Light is as much a psychological thriller as it is a sci-fi or supernatural horror story. Given the dramatic responsibility of the lead roles, it's the sort of project that would showcase actors' talents instead of hiding their shortfalls behind flashy effects.

And while that's all well and good, the story behind The Light is the sort that will keep its audience on the edge of their seats, terrified by what the story might hold, and making a conscious effort to sleep with all of the lights off for a few nights.

More info:

Written by Nathan Edmondson
Art by Brett Weldele

Publisher:

[Zacharie]

Title: The Chronicles Of Dr. Herbert West (Click to go to the release post)
Writer(s): Joe Brusha and 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... )

" I am not sure if this is going to be a real good mini series."
Review: The Chronicles of Dr. Herbert West #1

What would you do if a comic book mini series was created based on your favorite movie based character? Most likely you’d cheer and rejoice. That is not the case for the first issue in The Chronicles of Dr. Herbert West. For a character that was so renowned in the horror movie genre why does his first issue lack almost in every category?

The team of Joe Brusha and Ralph Tedesco thought this would be a good idea, or that is what I at least think. The first issue in this mini series is not what I was looking for. Re-Animator was a great movie and hearing a comic book series would tell the early years about Dr. Herbert West sounded great. It sounded great…

This issue is just boring. The first few pages give us the grizzly background about West’s early child years. After that it is smooth sailing into the college years of West and that is where the issue comes to an end. Nothing about the later years in here is good. I waited for something real big to happen and it did some what happen at the end. However it didn’t strike my fancy too much, it was dull.


It real bothers me how this issue ends as well. This is indeed a mini series but I don’t know how things are going to last. Issue two has already missed its release date so that is either a good or bad sign. It is hard to tell, I’m hoping things are going to be fixed when issue two comes out.

Our art team, Jason Craig and Axel Medellin Machain, seem to know how to do their job. That is the problem, they know how to do their job but it isn’t the sort of job that stands out too well amongst other comic book series. Details are lacking from page one to do. Everything in this comic book just seems too plain, it would have been much better if some of the pages had a little something added to them for character.

Final Verdict: I am not sure if this is going to be a real good mini series. There are enough individuals working on this series to make it good, at least you’d think the more people working on one series is better. I don’t think things can get any worse, though I will say the series isn’t the worst thing I’ve read.

More info:

Writers: Joe Brusha & Ralph Tedesco
Pencils: Jason Craig & Axel Medellin Machain

Publisher:

[Zacharie]

Title: H.P. Lovecraft’s The Dunwich Horror (Click to go to the release post)
Writer(s): Joe R. Lansdale (Click to see other books from this writer released on this site)
Review source: Waerloga69 (Don't click it, read the review here... )

" Don’t hesitate, give it a whirl."
Review: H.P. Lovecraft’s The Dunwich Horror #1

I chose H.P. Lovecraft’s The Dunwich Horror #1 to review just because I’m a fan of Lovecraft. I was quite happy to find that Joe R. Lansdale had written the script for the first story in this comic. I’ve met him several times since he lives in the same small Texas town as I do. Both the stories were entertaining and as dark as you would expect from a Lovecraftian piece.

The first story, the self titled The Dunwich Horror is obviously just the beginning to a great horror story. The first few pages contain no dialogue but are there to set the mood. Ambiguously suspenseful dialogue between the characters really does little to assist the reader in understanding what is going on, but it lends itself to the mystery and makes you flip the pages that much faster to try to find out what’s next…just like a good story should. Peter Bergting‘s art is almost like it was done with watercolors in that he blends features and colors to create a lot of dusk-like panels. The near dark atmosphere is one that always works in horror movies and it seems to do just fine in comics, too. Not much can be said to spoil the story here but it really is one that you need to read to get a sense of the ambiance that Lansdale and Bergting present to the reader.

The second story, The Hound, is comprise mainly of single charcoal stylings on each page with a very ornate script overlaid in white to show the stark contrast of prose and art. The writing is dark, mostly descriptive and morbid, it doesn’t lend itself to easy reading. The harshness of tone is almost overwhelming. This adaptation by Robert Weinberg is exquisite, as is the artwork by menton3. I found it difficult to read, however…the font used actually took me some time to acclimate to reading. Or maybe I need new glasses…who knows?

This comic is a must have for any fans of Lovecraft, in particular, or horror, in general. The art is perfectly molded to accompany the wondrous stories adapted by the writers. I’m positive that it won’t disappoint you, there is something here for any fan of the macabre. Don’t hesitate, give it a whirl.

More info:

Written by Joe R. Lansdale
Art by Peter Bergting
Letters by Shawn Lee

Publisher:

[Zacharie]

Title: Aliens – Fast Track To Heaven (Click to go to the release post)
Writer(s): Liam Sharp (Click to see other books from this writer released on this site)
Review source: Dan Buckley (Don't click it, read the review here... )

" It is a well-done title, but a far from memorable one."
Review:

One of the most difficult things to write well is a suspenseful, scary story. It is difficult to take a group of sympathetic, charismatic characters and put them into a situation where you are concerned for their well-being and frightened for them. Aliens is a prime example of this difficulty: although there is a good amount of characterization, the story leaves something to be desired. Just how often can you have a story about a group of marines, space explorers or otherwise space-bound fighters engaged in a fight for their lives with an unknown, ominous force that threatens their very lives?

Our story takes place below the ice on a research base on Jupiter's moon Europa. A group, our soon-to-be fodder team, has been sent in to discover what happened to a previous research team. They don't find the previous team; instead, they find a hive with a few straggling remnants of the previous team encased in housing for future serpents. The reader is never really told why this specific team is there in the first place. We are led to believe that not only is it totally natural for a team to be there for a seemingly pointless venture at this point in our future, and that Weyland is setting up our team as a test for the creature.


The ultimate tension isn't whether or not the creature is going to make mincemeat of our heroes. This is Alien – or Aliens. After all, most of the stories ended with at least five survivors anyway. Therefore, the stress in our story doesn't come from whether this wayward rescue team is going escape from this encounter without being doused with acid blood or killed brutally by this savage killing machine. (Both of which were actually drawn quite well; horrific yet still tastefully done all the same.) The tension comes from the desperate need to stop this virtually unstoppable force before it uses their ship to come back to Earth. If hardened rescue teams don't have a chance to stop it, what chance would the helpless civilians of Earth have?

The artwork in this comic has a true gritty feel, which helps to show the tough situation that the research team is going through. The different colors, in addition to showing their otherwise desperate situation, it really relays the mood. As they first arrive at the research base, they find the clear lighting is completely tan, illustrating just how much the hive has completely taken over the area. The entire page is a blue hue when there is an air of sadness at the recent demise of two members of the team as their leader is ready to make the ultimate sacrifice to buy them some precious time. The light in the area is completely yellow when there is a jovial nature about them before the team really knows what they are getting into.

All and all, this comic is quite well done. The artwork is very well done and does a good job relating the mood, the dialogue, though sparse, is enough to evoke emotional reaction in the characters and the setting provides enough desperation to spark hints of fear. However, this story adds nothing to the genre of science fiction, horror or the graphic novel universe. It is a well-done title, but a far from memorable one.

More info:

Writer: Liam Sharp
Artist: Liam Sharp

Publisher: