The graphic novels loved by children and adults alike
Dec 16th, 2011, 11:18 am
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Title: Sergio Stomps Star Wars (Click to go to the release post)
Writer(s): Sergio Aragonés (Click to see other books from this writer released on this site)
Review source: wikia (Don't click it, read the review here... ;) )

Review:
    Plot - Sergio Aragonés and Mark Evanier go to Lucasfilm, where they have an appointment with Lucy Wilson, about making a Star Wars comic for Dark Horse. Aragonés is a delusioned Star Wars fan, who always carries a toy lightsaber and asks the Lucasfilm employees about meeting characters such as R2-D2 and Jabba the Hutt. During Aragonés and Evanier's visit, the original Star Wars trilogy reels are being digitized for modern projectors. While Aragonés is looking at the digitizing equipment, an independent filmmaker (who entered the building disguised as George Lucas) sabotages the electricity while installing a bomb and causes Aragonés to be transferred into A New Hope.

    Aragonés then arrives at the Rebel base in Yavin 4, where he is mistaken for Biggs Darklighter. After meeting Luke Skywalker (“You are prettier than the action figures! And taller too!”), he goes to a rendezvous where the Death Star attack is being arranged. Aragonés at first is afraid and tries to escape, but his lifelong crush, Princess Leia Organa, convinces him otherwise. While checking the digitized movie, Evanier recognizes Aragonés among the Rebel pilots, and after Aragonés’ X-Wing is destroyed, Evanier tells the projector staff to shift to another scene before his friend dies.

    The scene shifts to Dagobah, where Aragonés talks to Yoda before getting picked up by the Millennium Falcon. Han Solo and Chewbacca take Aragonés to Bespin, and the trio jumps off the ship as they notice a tractor beam is attracting them to Cloud City. Han and Chewie are shot by Darth Vader who proceeds to attack Aragonés. After the ghost of Obi-Wan Kenobi contacts Aragonés to use the “Farse” (“Not ‘The Force’! You can’t use the Force! It has elevated standards!”), he proceeds to use a pencil to draw funny pictures of Vader, which embarrasses the Sith and causes him to collapse. Unfortunadely, this happens just as George Lucas himself is showing the digitized movie to international distributors, who proceed to complain about the film being ridiculous and get away. Security then beats Lucas as he is mistaken for the impostor.

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    The digitizing experts decide to download Aragonés out of the film, just as Leia is about to kiss the cartoonist during a medal ceremony. Security then notices the saboteur, who reveals a remote control, which if pressed will trigger the explosives set around Lucasfilm. Aragonés materializes and tackles the saboteur, who is then taken by security. Aragonés picks up the remote and accidentally presses the button, causing the entire building to blow up. Aragonés and Evanier are fired from Dark Horse (“I asked when we could work for them again. They said something about ‘when Hell freezes over’.”), and George Lucas is forced to beg for money in the streets.

    Trivia

    • Among the Lucasfilm and affiliates employees who appear are John Knoll, Rob Coleman, Scott Squires and Dennis Muren (visual effects artists), Rick McCallum (producer), Howard Roffman (vice-president), and Jim Morris (president of Lucas Digital).
    • In a reference to other movies with effects by Industrial Light & Magic, Scott Squires wears a Roger Rabbit shirt, and a doll of The Mask (who originated in comics by Dark Horse) is seen at the effects artists' table.
    • A group of Stormtroopers attacks the saboteur in his first attempt to invade Lucasfilm.
    • Evanier mentions that when visiting Steven Spielberg, Aragonés made a mountain out of mashed potatoes - a reference to Spielberg's Close Encounters of the Third Kind.
    • At the newsstand of the last page, a comic book starring Groo, an Aragonés character, can be seen.

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More info:
    Writer: Sergio Aragonés, Mark Evanier
    Penciller: Sergio Aragonés
    Letterer: Amador Cisneros
    Colorist: Dave McCaig
    Cover artist: Sergio Aragonés

Publisher:
    Image

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Dec 16th, 2011, 11:18 am
Dec 16th, 2011, 3:36 pm
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Title: Petrograd (Click to go to the release post)
Writer(s): Philip Gelatt (Click to see other books from this writer released on this site)
Review source: Greg Burgas (Don't click it, read the review here... ;) )

" This is a thoughtful thriller, and those are always good to read."

Review:
    Petrograd is a book about Rasputin, but it’s not only about Rasputin. It’s a story that has Rasputin at the center of it, even though he doesn’t appear all that often and dies two-thirds of the way through it. It’s a tale about an Englishman even though it takes place in Russia. It seems to be pro-Russian Revolution even though the star predicts dire things for that same revolution. It’s puzzling, isn’t it? But it’s quite good. It’s written by Philip Gelatt, drawn by Tyler Crook, lettered by Douglas E. Sherwood, published by Oni, and it costs 30 bucks. Let’s see what’s what, shall we?

    The lure of Grigori Rasputin is a powerful one, and Gelatt, apparently, has been fascinated by him for a long time. However, there’s also the problem of overexposure, and Rasputin, for one, has been picked over so much that it’s tough to find new things to write about with regard to him and his odd hold over the imperial family of Russia in the 1910s. Gelatt wisely focuses on Cleary, a spy for the British government, who is in Petrograd to communicate with Russian intelligence about the war effort while also spying on them and the various revolutionaries around the city. Through Cleary, Gelatt is able to examine the weird life of Rasputin without getting too close to him until the crucial moment of assassination, so Rasputin remains a shadowy figure, much like he was in life. It also allows Gelatt to go beyond just the plot to kill Rasputin – the book is called Petrograd, after all, not Rasputin – and show how Cleary deals with the events after Rasputin’s murder.

    The set-up of the book shows the complicated situation that existed in Petrograd during 1916. The British agency in the city consists of a station chief and two agents – Cleary and Alley. Alley is much more of a politician than spy, keeping his nose clean, thinking about advancement, and making sure Cleary is the one in danger. Cleary is on friendly terms with the head of the secret police (the Okhrana), an aristocrat named Felix Yussupov, and the Bolsheviks in the city (he’s sleeping with Marya, one of the Communists). He’s rather uniquely positioned to uncover several secrets – we see him leaving notes for the Okhrana about the location of a Communist cell, but he also has some affection for Marya. Mainly, Cleary is desperate to stay away from the front, where he spent some time.

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    The plot begins when the British discover that the Russians might be making peace overtures to the Germans. The British are very concerned about this, because with Russia out of the war, the Germans can send all their Eastern troops to the Western front, where they might overwhelm the British (in fact, this is pretty much what happened, but by then the Americans had arrived to shore up the British and French and it didn’t work as well as the Germans hoped). Cleary figures out that the tsarina and Rasputin are the ones making the overtures, and Alley comes up with a plan. Cleary had mentioned to him that Felix and Dmitri, another aristocrat (and possibly Felix’s lover, although Gelatt is far more explicit about this than, it seems, history is), hate Rasputin and think he’s ruining the country, so Alley communicates this to London, who tells him to encourage their wishful thinking and turn it into an actual assassination. He, of course, tasks Cleary with this.

    Felix, Dmitri, and their conspirators were ultimately successful, of course (Rasputin was definitely killed on 16 December 1916), but Gelatt does a nice job building the tension nevertheless, once again because he doesn’t simply focus on whether the plotters will be successful or not, as we know they will be. This is mainly because he sticks with Cleary, who at first tells Felix to go ahead with the plot but then realizes that Komissarov, his friend in the Okhrana, seems to know about his involvement. He gets cold feet, but Alley won’t allow him to back off. He tries to tell Felix to delay the plot, but Felix and Dmitri are fired up with romantic notions of freeing the country from Rasputin’s thrall and won’t hear of it. Cleary ends up at Felix’s mansion on the night Rasputin is lured there, and Gelatt does a fine job making the murder and the aftermath a thrilling affair. Not surprisingly, Cleary is hung out to dry, and the rest of the book deals with how he tries to survive in a city suddenly thrown into even more turmoil than before – the Okhrana is after him, Marya finds out he’s betrayed her, and he has no friends left. Gelatt chooses to end the book with the February 1917 revolution, giving it somewhat of a “happy” ending (as in, before Lenin came back and started, you know, killing everyone who didn’t agree with him).

    Why he ends it in February 1917 is interesting, because the book is about more than just the plot to kill Rasputin or the revolution to overthrow the tsar. Gelatt casts this as a struggle between romanticism and realism, and by ending it where he does, he can leave that question unresolved (before the reality of the Soviet Union crashed down on the revolutionaries). Felix, Dmitri, and Marya represent the romantic, Alley and Komissarov the realistic, and Cleary navigates between both worlds. Felix and Dmitri even discuss how the crime will look – at one point, Dmitri says, “To kill a man is easy. The difficulty is making sure the act has the proper meaning. We don’t want to be perceived as common hoodlums!” The murder plot itself is wildly complicated, and, of course, fails utterly. It comes down to bullets in the brain, as it often does, but even that doesn’t quite quell the romanticism in the aristocrats’ blood. Marya is much the same way – she doesn’t care about the deaths, just that she and her comrades die well. Gelatt makes Cleary an Irishman, which makes his conscience even more troubled – he keeps newspaper clippings about the Easter Rising, but he still works for the British government. Marya even calls him on this. Gelatt keeps this tension throughout the book, and it makes it a more interesting book. The clash is woven into the very fabric of Russia in 1916 – the romantic St. Petersburg, home of the magnificent Romanovs, has become Petrograd, where the Russian Revolution began. The “romantic” murder of Rasputin, with the poison and the knives and the dumping of the body in the Neva River, is contrasted with the brutal realism of the February revolution, where both the commoners and members of the aristocracy were shot in the heads.

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    Crook’s art is impressive, as well. He colors the entire book in olde-tymey sepia tones, but it works because of the way Gelatt tells the story – this is truly a flashpoint of the modern world vying against the medieval world, and so while Russia of 1916 had many of the amenities of modern life, the sepia tones help remind us how different the world could be. I’m opposed to sepia tones when they’re used solely to convey days of yore, but here it helps highlight the overall theme. Meanwhile, Crook’s pencils are very good, as he has to draw a lot of characters, many of whom look fairly alike (white men of privilege) but whom he manages to differentiate. Obviously, he needs to do good work on faces, as this is (for the most part) a slow-burning book and the characters’ emotions help tell the story, and he’s up to the task. When he finally gets to cut loose (during the violent part of the murder and during the February revolution), he does a very good job loosening up his linework a bit and giving us jarring images of violence. Crook had help to get the scenery of Petrograd in 1916 from online sources, and he does a fine job putting us deep in the middle of the city and its apartments and palaces. The scenes of the February revolution are expansive, beautiful, and almost make you believe the Russians can make something of it, even as Crook intercuts the magnificence with scenes of horrific violence. He incorporates sound effects very well, too, which is harder than it looks. It’s very clear why Mike Mignola got Crook to draw B.P.R.D. – he has a handle on horror but can also draw a Victorian-style book extremely well.

    Petrograd is a very impressive book, not just because Gelatt tells a gripping tale of espionage and murder or because Crook is a fine artist, but because Gelatt manages to get deeper into the Russian psyche and why a man like Rasputin might actually be able to hypnotize an entire nation. This is a thoughtful thriller, and those are always good to read. I have no idea if Oni is planning to release a cheaper, softcover version of this book, but why wait? Petrograd is too good to pass up!

    (By the way, Yussupov lived until 1967, often retelling the story of his involvement in Rasputin’s murder – which might be completely spurious. If his role in the murder didn’t impart on him some immortality, his lawsuit against MGM for a movie about the events in which they showed his wife being seduced by Rasputin led to the famous disclaimer in all works of fiction about any similarity to actual people being coincidental. So there’s that. Dmitri and Alley are actual historical figures, as well, and it seems that Gelatt based Cleary on Oswald Rayner, who worked for British Intelligence and may have been part of the plot.)


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More info:
    Written by Philip Gelatt
    Drawn by Tyler Crook
    Lettered by Douglas E. Sherwood

Publisher:
    Image

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Dec 16th, 2011, 3:36 pm
Dec 16th, 2011, 7:16 pm
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Title: Grimm Fairy Tales Presents the Library (Click to go to the release post)
Writer(s): Joe Brusha (Click to see other books from this writer released on this site)
Review source: Lamar Furbanks (Review 1) and LargeMarge67 (Review 2) (Don't click it, read the review here... ;) )

" I must admit that these books surprised me."

Review: Grimm Fairy Tales Presents the Library #1 and #2
    Review 1 - Zenescope continues to expand its Grimm Fairy Tales series with The Library. The first two installments show some promise, with richy-rich student Sela Mathers and her younger brother Thomas, her cutthroat rich businessman father, and sexy librarian Ms. Sullivan.

    When Sela’s father stops by the library that he’s buying (the building, that is. He doesn’t care about the books), Sela and her little brother accidentally release a magic book that brings all manner of fictional monsters and bad guys out of the books and into real life. This is a solid premise for a comic series.

    In the first two installments, we already have Minotaur, Hercules, cowboys, and a T-Rex. We’ve even got a sexy librarian. Actually, she’s not very sexy compared to most Zenescope women. But I have faith. Besides, even without the busty reason Grimm originally got its fame, this comic still has a lot.

    The most interesting part is the conflict they have set up for our heroine, both internally and with her family. It’s a good start.

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    Review 2 - rimm Fairy Tales: The Library is a new five-issue, mini-series from Zenescope Entertainment. Now I am not a huge fan of fairy tales, in general, because I am a grown man. Come on now, at my age do you think I have time for tales of whimsy created for children? That would cut into time set aside for more mature activities like reading comic books and playing video games, so get serious! Issue 1 tells the story of Sela Mathers and her brother, Thomas, who accompany their wealthy father to the new building he has purchased. Once inside, they discover a library packed with books of all kinds and a key dangling on a string from the ceiling. Beneath the key is a book with a lock and you can guess what happens next…

    That’s right! Sela and Thomas ignore the key and run off to do their homework because that’s what responsible kids do. Not! Thomas opens the book and all Hell proceeds to break loose!

    In Issue 2 we find that both kids have been pulled into different texts and struggle to escape the monsters within. Luckily, there are also heroic characters around to assist them. Unfortunately, the books are portals that allow entrance into the real world by each story’s inhabitants, which sets up major problems for future issues.

    I must admit that these books surprised me. Giovanni Timpano’s artwork is excellent, as it uses a great deal of shadowing to add depth and dimension to every panel. Even the narrative was enjoyable and the choices for what fictional characters to use were very intriguing. The writer, Joe Brusha, has chosen fictitious people that cover a wide spectrum of book genres and keeps you guessing as to who will show up next. On a concept level, I was reminded of the film The Pagemaster except this tale is more interesting and better executed. The only thing that bothers me is the question of how this entertaining yarn will end. Will everything return to normal? Or will the mankind have to share the Earth with a litany of imaginary people? I hope it’s the latter. And if it ends up being an “it was all a dream” story I will punch a kitten! Not really. But I will punch my Hello Kitty lunchbox. Wait…not mine! Someone…else’s…ugh…

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More info:
    Writer: Joe Brusha
    Pencils: Giovanni Timpano
    Colors: Liezl Buenaventura
    Lettering: Jim Campbell (and Jim Yates for #2)

Publisher:
    Image

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Dec 16th, 2011, 7:16 pm
Dec 16th, 2011, 8:07 pm
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Title: Zombies Vs Cheerleaders (Click to go to the release post)
Writer(s): Steven L. Frank (Click to see other books from this writer released on this site)
Review source: Dan (Don't click it, read the review here... ;) )

" If your looking for something different but not deep than maybe this is for you."

Review: Zombies vs. Cheerleaders #1
      “Morbid or funny, and sometimes morbidly funny, top talent bring eclectic tales of Zombies vs Cheerleaders. Based on the hit trading card series from 5FINITY Productions, read the exciting stories of the two things everyone loves: zombies and cheerleaders! Writer Steven L. Frank teams with artists Benjamin Glendenning, Jessica Hickman, Frankie B Washington, and David Namisato in this rip roaring first issue! Variant covers by Jason Worthington, Justin Ridge, & Jessica Hickman. The back cover is sketch friendly!“

    Artwork: 4.0 out of 5
    This was the highlight of this book. I mean that on all fronts. The covers rock, the art is good, the colors are nice and so is the lettering. I like the cartoonish look and feel that the book has, it played well with the stories. The covers all rock. You have 5 choices to go with, I lean toward Mark Bloodworth’s because I have always been a fan. You also get treated to a few pinups at the end of the book and they are really cool too. So I mean that artwork does deliver on this.

    Story: 2.0 out of 5
    So I don’t have too much to really praise here. At first I was thinking it would be a cool B-Movie style book, but it took a few steps too far in my opinion. The jokes boarded on being a little to dull, and were on almost every panel. Granted the idea and concept here isn’t one I expect a great storyline from, but it easily just went way over the top.

    Dying Breath: 2.5 out of 5
    You know I think I can sum this one up by saying, if your looking for something different but not deep than maybe this is for you. I liked the artwork and felt it went with the story well, but the story itself was just too over the top. To many jokes, placed way to often push this one past the B-Movie feel. My suggestion is to pass and just grab Chaos Campus instead.

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More info:
    Writer: Steven L. Frank
    Artists: Ben Glendenning, Jessica Hickman, Frankie B. Washington
    Colors: Anthony Hochrein
    Letters: Josh Aitken
    Cover Artists: Justin Ridge, Jessica Hickman, Jason Worthington, Andy Black, Mark Bloodworth
    Editor: Steven L. Frank
    Publisher: Moonstone

Publisher:
    Image

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Dec 16th, 2011, 8:07 pm
Dec 16th, 2011, 8:48 pm
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Title: Mnemovore (Click to go to the release post)
Writer(s): Hans Rodionoff and Ray Fawkes (Click to see other books from this writer released on this site)
Review source: Drew Clements (review 1) and T. Martin (review 2) (Don't click it, read the review here... ;) )

" This final issue will undoubtedly leave you unsatisfied, but deliciously so."

Review:
    review 1 - Mnemovore #1

    Plot:
    Olympic snowboarding hopeful, Kaley Markowic, is injured in an accident. Suffering from amnesia, Kaley attempts to reintegrate herself with life as it was before the accident.

    Comments:
    The first issue of any comic book is supposed to suck you in and leave you begging for more, right? The reader of a #1 issue should get some sort of sense of where the book is going. You shouldn’t be indifferent to it by the time you’ve finished reading it.

    Mnemovore doesn’t leave you with a nagging desire to pick up issue #2. Sure, there’s a cliffhanger ending, but even that doesn’t do much to make me want to come back since the presentation is a bit off.

    There’s really no buildup to the ending. We see Kaley after her accident trying to adjust to having amnesia. We also see her family trying to help her readjust by putting their daughter around things that might bring back memories.

    Then we see a monster attack her boyfriend and eventually her.…what??

    It comes from out of nowhere. It’s kind of like having a civil conversation with a friend about cars and suddenly your friend purposely shoots a snot rocket at you. It just doesn’t make sense!

    You know, I’m not by any means saying this is a bad book because it just may pick up in subsequent issues, but you shouldn’t have to wait until issue #2 or 3 to decide if you like a book or not. If it’s going to take that long, then it should have been a graphic novel or one-shot, not a miniseries.

    I’m not here to tell you that though, I’m here to review THIS issue and honestly I’m not impressed with the writing.

    I must say that the art, however, is fantastic. Mike Huddleston’s interior work reminds me of Michael Avon Oeming’s art in Powers. His painted cover, which is amazingly different from the traditionally drawn interior art, shows he’s a true talent.

    I recommend grabbing this only if you’ve got three bucks burning a hole in your pocket and are interested in a story that might pick up. Judging from this issue, there doesn’t seem to be much guarantee that will happen.

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    review 2 - MNEMOVORE #6
    Well, this is definitely not a series for those who like their stories all neatly tied up at the end. The final issue of Mnemovore raises easily as many questions as it answers. Given that the series has been about memories – their disappearance, disjunction and overload – such an ending is entirely appropriate.

    The end of the previous issue as well as the cover of this imply that the series finishes with nothing more sophisticated than a bug hunt. On one level, this is precisely what we get: Kaley has found the creature and now she must kill it with an axe. But Rodionoff, Fawkes and Huddleston (the art here is inseparable from the writing) construct this last issue as a summation as well as climax of everything that went before. The narrative becomes more jagged than before. In previous issues we were used to sometimes quite sudden shifts in story. Here the creators use the same discontinuities but push the technique one step further by compressing it into a single scene in a single place. We fade in and out of the action with Kaley. It is never clear how long the confrontation takes and we don’t know everything that happens. Thus the struggle seems more psychological than physical: it is a battle of wills and willpower.

    The breaking of the narrative does mean that the ideas brought up by Mike on cultural oversaturation are never explored with the necessary consistency. Fragmented by the narrative, they remain little more than ruminations, albeit interesting ones. There is a similar problem with the question of Kaley’s possible involvement in waking the creature in the first place. We never find out how likely this is or whether the monster suggests the possibility only as a last-ditch attempt to save itself. Ultimately, a number of explanations are mooted for the creature, but none are given priority. Its obscurity to the last may be no bad thing.

    The respective voices of Mike and Kaley are quite distinct even as they circle around the same themes. Mike is still the philosopher and the unclear consequences of his final act imply that what looks like a moment of heroism is in fact little more than yet another gesture of self-pity. Kaley on the other hand is focussed on vengeance and family and as her memories come back we find out more about her background (as we do of Mike’s, including why he was affected by the creatures differently). Kaley becomes more human at precisely the time when that humanity is under threat. Her misunderstanding of Mike’s comments highlights the difficulty of mutual comprehension without a shared past. In a particularly bravura series of panels, scenes from earlier issues are repeated but with words and letters obscured to make new commentary tracing Kaley’s inner fears about self-destruction. The memories of the past are therefore made to serve the present selectively, just as present events summon them to Kaley’s damaged consciousness. As in the last issue, Jared K. Fletcher’s letters are a stand-out aspect of the book.

    The art really is quite spectacular. The teeth-and-tentacles design of the monster, like the underlying bug-hunt plot, may be somewhat hackneyed. Nevertheless, Jeromy Cox’s colours really bring out the glistening yellow of the creature’s eyes. It looks truly horrific. Huddleston’s figures are realistic when at rest but motion distorts them into their most basic lines. If the jumbled panel-placement sometimes makes for confusing reading, this disadvantage is more than compensated by the insidious juxtapositions with which he bombards the reader. Meanwhile, the fading that had begun to obscure words in the last issue spreads to the pages themselves in this. White bleeds from the corners and creates spots of nothingness across the panels. The final few pages of the fight are that much better for what we don’t see.

    The ending is inconclusive and possibly tragic. Any victory was pyrrhic. Snow of one or another type is the only respite remaining: a restful, unthinking oblivion. This final issue will undoubtedly leave you unsatisfied, but deliciously so. It will be as if you have woken up from a vivid and disturbing dream which you can’t quite remember but are glad is not real.

    N.B.: At the time of writing, there has yet been no announcement regarding a TPB.

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More info:
    Writers: Hans Rodionoff & Ray Fawkes
    Pencils: Mike Huddleston
    Colorist: Jeromy Cox
    Letterer: Jared K. Fletcher

Publisher:
    Image

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Dec 16th, 2011, 8:48 pm
Dec 17th, 2011, 1:00 pm
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Title: Grimm Fairy Tales: Holiday Edition (Click to go to the release post)
Writer(s): Joe Brusha, Raven Gregory and Ralph Tedesco (Click to see other books from this writer released on this site)
Review source: Sara Michelle Kowalczyk (Review 1) and Brieanna Brock (Review 1) (Don't click it, read the review here... ;) )

" I can’t thank Zenescope enough for another wonderful Holiday Edition"

Review:
    Review 1 - Grimm Fairy Tales: Holiday Edition 2009 - Sela Mathers finds herself alone on Christmas Eve. What’s a single lady to do but go to a party? Unfortunately for Sela, the forces of evil are not far behind.

    At the faculty Christmas bash Sela receives a nutcracker as a secret Santa gift. As readers know, when Sela is not helping people with her magical book of fairy tales, she is working as a history professor. After a couple of drinks, Sela agrees to the new hottie anthropology teacher, David’s, request to walk her home. The drugged Sela doesn’t quite make it. Overcome with dizziness, she passes out on a bench.

    Awakened by the skittering sound of rats, Sela realizes she’s in a forest in the realm of magic. Hideous, giant rats chase a frightened Sela, knocking her to the ground. She drops the nutcracker who transforms into a prince. Like a knight in shining armor, he slashes the beasts into pieces.

    Taking Sela by the hand, the prince escorts her to a fortress. Wooden ornaments shaped like soldiers, horses, and cannon decorate the enormous Christmas tree in front of the castle. The prince uses magic to bring the ornaments to life. His battalion defends Sela from the Rat King and his monstrous army. Finally, the prince stabs the Rat King to death.

    Sela and the prince travel to the fairy realm to watch the beautiful dance of the sugar plum fairies. After the dance, he warns her that she must return to Earth before the night has ended. Sela opens her eyes and discovers she’s still lying on the bench where she fainted. She looks for David and finds his body on the ground. It’s soaked with blood and surrounded by his loyal rats.

    Overall, I enjoyed Zenescope’s interpretation of the beloved Nutcracker story. What girl hasn’t come across a Rat King in her life? The only problem I had was the ending. Joe Brusha forgot an important detail. The finale of The Nutcracker ballet shows Clara waking up, holding the nutcracker. Mr. Brusha should have used this image, instead he never mentions the nutcracker again. I think showing Sela with her nutcracker would have tied together the story and the character she was portraying, Clara. On the other hand, the gore and scantily clad sugar plum fairies in Zenescope’s version are enough to get more men interested in the ballet!

    My favorite part of the tale was when the prince sliced and diced the rats for his “Lady Fair.” That scene is definitely missing from the ballet. Call me old fashioned, but Zenescope has a way of bringing chivalry back in the sickest ways. Happy Holidays.

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    Review 2 - Grimm Fairy Tales Holiday Special 2010 - It’s the season to be jolly…the season to give and receive gifts. But not everyone is here to spread holiday cheer and not all the gifts received have been asked for. Beware of the gifts from Krampus which come with a price! This special issue introduces a brand new character to the Grimm Universe.

    Krampus is sure to be a hit and I can’t wait to see what he brings to the Holiday Edition next year. Who knows…maybe sooner? I love an early Christmas. =)

    The edition starts out with a young boy making a foster mom upset because he tells Santa that what he really wants for Christmas is to be reunited with his father. The young boy meets an elf that warns him to be good for goodness sake after the young boy finds a present in an alley way. What’s in the box? ….Hmmm!
    Meanwhile, the boys father is out of jail but can’t see his boy until he is off parole and can’t land a job being an ex-con. He runs into a friend of his from the past and is easily talked into a deal that could put money in his pocket. LUCKILY, the father takes off before he gets into trouble and doesn’t become part of the rest of the story that his friend ends up not so lucky to have been in. Zenescope’s new character comes to sing him a Christmas carol and things get “naughty”….I did say naughty! You ready for more? –Thought so.
    In another story, in the spirit of Christmas…a couple is offered a present that from a man they don’t know that could make all their dreams come true. Raven Gregory really twists this story to leave you wondering exactly who you can trust and makes you also wonder just what your decisions lead to in life. Krampus is a sneaky sneaky character that I am falling in love with! You have to read this one to see what I am talking about. Next you’ll read on aobut the “Pollyanna”?! Creatively written by Ralph Tedesco, some BFFs decide to exchange secret gifts for christmas and one of those gifts becomes an obsession amongst all 3 of the friends. This story may leave you with Krampus glued to your eyes and have you dreaming of his twisted ways. I am now wondering what exactly I should give as my secret gift to my chosen one. =)
    And lastly, the boy is awake and it’s Christmas morning and he is opening his gift given to him from the alley. His dad also appears with a gift from Santa himself in hopes of restoring the true meaning of Christmas in the boy’s head. Which gift will the boy choose to keep? Joe Brusha decides which gift ends this story and on what note.
    I can’t thank Zenescope enough for another wonderful Holiday Edition. I enjoyed each story and will be giving you more previews and a synopsis of the other 3 titles I had mentioned in my new release blog soon. STAY tuned and GO GET your Zenescope titles before their gone.


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More info:
    Written by Joe Brusha, Raven Gregory and Ralph Tedesco
    Pencils by Alfred Trujillo, Anthony Spay, Jordan Gunderson, & Dafu Yu
    Colors by John Hunt and Jeff Balke
    Lettering by Jim Campbell
    Design By Chrisopher Cote

Publisher:
    Image

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Dec 17th, 2011, 1:00 pm
Dec 17th, 2011, 4:43 pm
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Title: DC SPECIAL: CYBORG (Click to go to the release post)
Writer(s): Mark Sable (Click to see other books from this writer released on this site)
Review source: Adam Chapman (Review 1) and Adam Chapman (Review 1) (Don't click it, read the review here... ;) )

" Not Recommended!"

Review:
    Review 1 - DC SPECIAL: CYBORG #4 - This series is terrible. I don't know why it's 6-issues long, for the life of me. Its really just not interesting, it plods along, and is a great example of decompression for all the wrong reasons. Taking a story that could actually be done in like two-three issues, and stretching to six, and not even making those issues enjoyable. People deride decompression, but when done right, you don't mind, because its still just such an enjoyable read. Bendis' Daredevil run falls under this heading. Decompression, but enjoyable decompression. This is just decompression for the sake of a longer mini-series, but no one should ever buy this in trade, because it's not worth plopping down any amount of money for.

    Cyborg fights Equus, other cybernetically enhanced individuals, plus his old friend Ron, and Mr. Orr shows up. Cyborg learns about his tech being used for something new, and about his possible future and legacy.

    I can't stand Equus being used anywhere, because the character never made sense in the first place, and his reappearance outside of the Negative Zone makes even less sense. Azzarello's villain feels out of place in each storyline I've seen him in recently, here and in Countdown, and it feels like they keep trying to rewrite his history and origins each time. It becomes excessive after a while, and not interesting. He's just never written in a manner that makes me care or interested in the character.

    The artwork here is sloppy and not that detailed or clear/clean. Magno is capable of better work than this, I'm sure.

    If you're a non-completist type, stop buying this book immediately and let it stay on the shelves until it makes its way to a Comic Convention in a bin for 25 cents. And even then, 25 cents is a little much for a pointless comic that felt like it wasted my time. I LIKE Cyborg, and this mini-series is just disrespectful to the character, not to mention derivative, unoriginal, and boring. Not Recommended!

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    Review2 - DC SPECIAL: CYBORG #5 - Five issues in now, and this title still hasn't done a few things. Hasn't proven why it needed to be published, that it's a good story worth reading, that it has any real sense of the characters, and why it has to be this long. This is a shameless series, drummed up for no real reason, with a story that is thin as you can imagine, and which is even more boring than it is thin.

    This storyline, after five issues, has progressed very little in the overall scheme of things, and is extremely dull and uninteresting. If I was a prior huge fan of Cyborg, this series would irritate the hell out of me. As a comics reader who's never really been a huge fan, it doesn't in any way change my mind or make me think differently, because the character here isn't engaging or interesting at all, the storyline is dull, repetitive and not interesting, none of the characters used are fun or interesting to read... this book is just dying on the operating table, and I can't wait for it to just be over already.

    Vic Stone from the future awakes, and is enlisted by Mr. Orr to make sure that the future comes to pass, by stopping his present-day self, with some back-up provided by Orr. Meanwhile, present-day Vic Stone goes to the Middle East to try and stop the tech from being used inappropriately, but is in for a surprise...

    Sable keeps trying to hammer home the same points over and over again, with each issue, and it hasn't gotten any more interesting than the first time when I was barely interested. This series has no real creative spark or juice to it, and it's making it hard to really be entertained or engaged in the proceedings.

    The artwork by Magno is relatively decent, in this issue, not nearly as stylized as previously, although many characters still look off and not that well articulated visually-speaking.

    I'll be glad when this series is over, it isn't really serving any real purpose but to suck in some cash and bore me to tears, at this point. Not Recommended!

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More info:
    Writer: Mark Sable
    Pencils:: Carlos Magno
    Inks: Jonathan Glapion
    Colors: JD Smith
    Letters: John J. Hill
    Assistant Editor: Adam Schlagman
    Editor: Eddie Berganza
    Cover: Brian Denham w/ Smith

Publisher:
    Image

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Dec 17th, 2011, 4:43 pm
Dec 17th, 2011, 7:28 pm
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Title: George R.R. Martin's A Game Of Thrones (Click to go to the release post)
Writer(s): Daniel Abraham (Click to see other books from this writer released on this site)
Review source: Waerloga69 (Don't click it, read the review here... ;) )

" Now, go pick it up. Seriously, go now"

Review: A Game Of Thrones #1 - Book One of A Song of Ice and Fire
    George R.R. Martin‘s books are iconic fantasy novels that I hold in the highest regard. A Game Of Thrones #1 was everything I could ever want in an adaptation…and more. Unlike the HBO miniseries of the same name, this comic book delivers a better depth of the book as opposed to trying to make it fit into segmented television programs. Not that I disliked the show, but it was a concise version of one of the greatest fantasy books I’ve ever read.

    While it doesn’t quite match up visually to what my mind created while reading the original book, A Game Of Thrones #1 brings a certain depth that many comics are missing today. Through a combination of Tommy Patterson‘s art and Daniel Abraham‘s writing, we get a thorough view of the world of the Seven Kingdoms and beyond. From the quick justice of Eddard Stark, Lord of Winterfell, to the sad straits of Daenerys Targaryen, Princess of Dragonstone, we are shown both the beauty and the horror of this harsh world.

    I’m quite sure that as this series continues and the world is expanded upon, we will be amazed by the sights shown in these comics. I was also impressed with both the concentration on the primary characters and the details in the background, that helped to enhance the overall feel of the story.

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    We see a bit of the intrigue in this issue, though little is made of it. As far as introductory issues go, this comic both told a story and dangled the proverbial carrot in front of us. The primary plots are begun but not spoiled by the release of too much information, thereby raising the reader’s awareness that much, much more is forthcoming. George R.R. Martin is the master of stories within stories, so even a casual reader is able to see that these characters have an intensity far beyond that of the average comic, each one having his or her own story to tell. And from what I can see, this series from Dynamite Entertainment is going to make sure we witness them all.

    I would easily give this series to both comic and non-comic fans alike. I truly loved this adaptation more than I would have thought. My only criticism would be that some of the characters don’t appear to be aged as much as I would have expected. But really, that’s almost a non-issue as it probably stems from my perception of the characters from many years ago. I hope you find the comic as enjoyable as I did. Of course, to do so, you will have to go buy it…thereby ensuring the continued production of the series. Now, go pick it up. Seriously, go now.


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More info:
    Based on the novel by George R.R. Martin
    Adapted by Daniel Abraham
    Art by Tommy Patterson
    Letters by Marshall Dillion
    Colors by Ivan Nunes
    Covers by Alex Ross, Mike S. Miller
    Dynamite Entertainment

Publisher:
    Image

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Dec 17th, 2011, 7:28 pm
Dec 17th, 2011, 8:22 pm
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Title: Casey Blue: Beyond Tomorrow (Click to go to the release post)
Writer(s): B. Clay Moore (Click to see other books from this writer released on this site)
Review source: Vanja (Don't click it, read the review here... ;) )

" Reads so fluid that one can't help but sit and enjoy."

Review:
    This recently concluded mini-series flew under the radar of both fans and the critics, much like most of Wildstorm's titles. Not counting their troubled superhero line, most of what the imprint publishes can be boiled down to "Watchmen"-inspired comics ("Red Menace", "Wintermen", "Programme"), or semi-manga titles like "Casey Blue".

    "Casey Blue" is the brainchild of writer B.Clay Moore (Hawaiian dick, War hymns, Leading man), and as such works in a similar well-paced, high on action vein. Artist Carlo Barberi (Gen13) is thus given a lot of room to showcase his love of the female form, and dynamic storytelling.

    The story's soaked in a trippy horror/SF vibe that's boiling under the surface of the seemingly normal teenage girl's ordinary life. Of course, that's just the start of the creators' sprawling vision, which quickly grows beyond the format of a six-issue mini-series. Thus, what at first glance appears to be a movie pitch in the sequential form, ends up becoming a pilot episode of a TV-series, so to speak.

    In fact, the authors are so fixated on Casey, and her eventual destiny, that most of the cast in the mini unintentionally end up serving as stereotypes, mere parts of the suburban backdrop that the reader is familiar with, before the plot launches in a Terminator meets Matrix combination.

    At first glance, it's hard to find anything really unique about the project that captured the editor's attention, yet like most of B. Clay Moore's comics, it works so well, and reads so fluid that one can't help but sit and enjoy. Much like Top Cow's "Necromaner", WildStorm has seen fit to publish a sleek genre story starring a female lead that doesn't so much evoke "Buffy the vampire slayer", but works as it's own thing.

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    The comic is volent and bloody, but, perhaps because of the age and naivete of it's protagonist, works fine without crossing the border into dark and mature storytelling. Even though it's mostly an action-oriented affair, and functioning fine within those perimeters, "Casey Blue" does offer some character development.

    Considering the detachment the main character feels towards her surroundings, the internal narration we, the readers are treated to is very much needed and pulled of in a manner that is both sympathetic and informative, without being boring and overwhelming. The character designs are very distinctive even before the book introduces the skinsuits and body-armor. Nevertheless Barberi's eye remains focused towards the idealized human form, which remains part and parcel considering the genre.

    The mini ends up on a conclusion that is clearly meant only to designate a chapter-break, working to separate Casey from her school-friends and the new life as an action heroine that awaits her. It's clear that she is meant to directly follow up and meet with several characters in a similar predicament, with the only major loose-end being our not getting any real pay-off from her encounter with the FBI agent that has some clues to the alien threat that looms above her. It would be a shame not to see him reunited with Casey, potentially as a love-interest that was missing from this, the first mini-series.

    And yet, it's uncertain if WildStorm will continue with the idea, and have Casey and her new friends run away from someone close to her that has been "seeded", towards her future in the all-out war. There is potential to be gained from seeing Casey Blue's adventures continue on in an ongoing series, even, but that will likely not be the case.

    The lack of a strong "hook", or any other really distinctive elements, coupled with the relatively low profile of her creators, have all about doomed our chances of seeing the heroine's story continue in the sequential form. The lack of strong sales and general reader apathy to this, the character's first outing seem dead-set to repeat the failure of Robert Kirkman's "Cloudfall", but there's always hope that the series will find new life and a wider audience, when published in the trade paperback format.


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More info:
    Writer: B. Clay Moore
    Pencilers: Carlo Barberi
    Inkers: Jacob Equren
    Colourists: Wildstorm FX
    Letterers: Wes Abbott
    Editors: Kristy Quinn

Publisher:
    Image

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Dec 17th, 2011, 8:22 pm
Dec 17th, 2011, 11:46 pm
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Title: Hitman (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: grovel (Don't click it, read the review here... ;) )

" Hitman suffers greatly from its simplicity... "

Review:
    Reading Hitman having already tackled Preacher Image , Ennis' much applauded later work, is much like reading Tolkien's The Hobbit after reading The Lord of the Rings. Compared to the later work, Hitman suffers greatly from its simplicity, especially in comparison to our appreciation of what Ennis will achieve further down the line.

    Hitman is a gun for hire in Batman's Gotham City. Where Batman's moral code requires that he capture and rehabilitate his enemies, Hitman is perfectly happy to pump them full of lead. Hitman still adheres to some morals though, and despite earning a living from killing, he'll only hit the bad guys.

    If anything, Hitman's grey yet clearly defined morals sit uneasily together, making him difficult to empathise with. The character also suffers from existing in Batman's world of black and white, needing to have super-human powers levered into the story to ensure his survival in this imbalanced world.
    Hitman

    McCrea's art is unsuited to the stark necessities of this inked then simply coloured medium, and the limits enforced on the soft, painterly style we saw in his earlier collaborations with Ennis (Troubled Souls and For a Few Troubles More) tear it to shreds.

    With hindsight you can see where Ennis is going with Hitman, and it's reassuring that this direction is Preacher bound. Put simply, this is far from great Ennis work but we suspect that without it, Preacher might not exist. And if for that reason alone, this is worthy of some reverence. However, this appreciation is probably best left to those with an urge to follow Ennis entire career, rather than those looking to dip into the best comics can offer.

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More info:
    Words by Garth Ennis
    Art by John McCrea

Publisher:
    Image

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Dec 17th, 2011, 11:46 pm
Dec 18th, 2011, 12:08 am
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Title: Batman: Death and the Maidens (Click to go to the release post)
Writer(s): Greg Rucka (Click to see other books from this writer released on this site)
Review source: Loppie McFad (Don't click it, read the review here... ;) )

" The most significant Ra's al-Ghul story in decades."

Review: Batman: Death and the Maidens #1
    This nine-part miniseries is being billed as the most significant Ra's al-Ghul story in decades. And possibly the last al-Ghul story. Considering how overused the character has been in recent years, I would frankly welcome it if DC put the villain on ice for a decade or so.

    Still, Rucka has come up with a unique approach-- depicting Ra's as a victim of sorts. In this story, the Demon's Head is going up against a mysterious woman called Nyssa who appears to be as formidable as he is. To the point that even the fearsome al-Ghul is afraid of her.

    Ra's al-Ghul also has Batman to worry about. It turns out that the caped crusader has been destroying all of Ra's' rejuvenating Lazarus Pits. Now the arch-villain has begun to age and is reduced to beseeching Batman for help--presumably against the mysterious Nyssa.

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    Rucka keeps his cards close, so we can only make guesses as to the relationship between Ra's and the woman and why she is so important to his continued survival. There is also the moral dilemma over whether Batman should let his old enemy die. Considering that Ra's is bent on genocide, it doesn't really feel like much of a dilemma to me.

    Lest anyone think that this is basically a Ra's al Ghul story with Batman as a guest star, Rucka also delves deeply into Batman's mind, particularly the feelings over his parents' murder. Lots of writers have gone over this territory before but Rucka succeeds in making it affecting without being mawkish or morbid. Whether he can tie Batman's feelings over his parents to this new threat remains to be seen.

    Janson's art is suited to this moody tale of dark deeds and darker secrets. Some of the newer readers may find it too different from the highly-detailed art style on "Hush" but after a few pages, it should win them over.


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More info:
    Writer(s): Greg Rucka
    Penciller(s): Klaus Janson
    Inker(s): Klaus Janson
    Cover Artist(s): Klaus Janson

Publisher:
    Image

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Dec 18th, 2011, 12:08 am
Dec 18th, 2011, 7:34 am
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Title: Nightcrawler (Click to go to the release post)
Writer(s): Adam Freeman and Marc Bernardin (Click to see other books from this writer released on this site)
Review source: Doug Zawisza (Don't click it, read the review here... ;) )

" This is a story for the most passionate, open-minded fans of Nightcrawler"

Review: Nightcrawler #1
    Thirty pages of a reinterpreted and enhanced origin of everyone's favorite fuzzy blue elf, and three pages of reprinted material from Nightcrawler's first appearance in "Giant Size X-Men" #1. Oddly enough, the three pages outweigh the thirty. The passion and fury that was present in the original tale of the village coming after Kurt Wagner with torches carries a lot more weight than a circus owner and his thugs chasing down a mistreated refugee.

    This story is not without its merits, however, as the revisionist origin story deepens what we never knew (nor asked to know) about the early days of Nightcrawler. We all knew he was abused in his life at the circus. We didn't know how it affected the rest of his family though. Rarely have we been given panel time of Kurt's foster mother serving in the role of mother. This issue does little to advance her beyond more than a plot device, however, and her fate is left undefined in this issue.

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    The art for this issue is split, with Cary Nord drawing the first two-thirds of the story before relenting to James Harren in the final third. Nord's artwork is subtle and subdued through the colors of Chris Sotomayor, but those same colors make Harren's art look murky and less refined. Harren's work is nowhere near as polished as Nord's and that is quite evident when Kurt has his foot to the throat of Herr Getmann. Sotomayor does a good job holding the book together for the most part, but as a reviewer, I check the credit boxes and tend to keep my eyes open for a shift in style, anatomy, and composition. All three occur in the handoff in this issue. Harren shows promise, but has the misfortune of sharing a book with a truly masterful draftsman.

    This issue gives us the chance to discover teleporting right alongside Nightcrawler. His amazement is supposed to carry over to the reader, but falls short, as the entirety of this issue does. I'm pleased to be able to read a comic that focuses on Nightcrawler, and Nightcrawler alone, but this is a story for the most passionate, open-minded fans of Nightcrawler. Pedestrian X-fans might not be as enthused by this reconfigured tale of yesteryear.


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More info:
    Story by Adam Freeman and Marc Bernardin
    Art by Cary Nord, James Harren
    Colors by Chris Sotomayor
    Letters by Dave Sharpe
    Cover by Cary Nord
    Publisher Marvel Comics


Publisher:
    Image

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Dec 18th, 2011, 7:34 am
Dec 18th, 2011, 7:37 am
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Title: Alias (Click to go to the release post)
Writer(s): Brian Michael Bendis (Click to see other books from this writer released on this site)
Review source: Ryan K Lindsay (Don't click it, read the review here... ;) )

" I don’t think you’d be disappointed to check it out."

Review:
    Brian Michael Bendis is going to be a name that will define so much about this generation of comics. He’s certainly synonymous with the Marvel way of telling stories of late and he’s just about ubiquitous on the stands, especially when it comes to events. But he also has a history as an indie crime writer, and even artist, and for every bombastic blockbuster that he throws out he also tries to offer something a little more noir. Fans sometimes like one side of Bendis, others vehemently defend the other, but in the end I have had to make my choice for what can best express the greatness that can be the man they call Bendis. Hit the jump to see what and why.

    Bendis is someone who has written so many stories now, and so much of it loosely termed a classic of its time, or at least the event of the day, that trying to pick his absolute best, the work that can represent him without anything else, becomes interesting because so much of his stuff instantly goes out the window because he should not be defined by Secret Invasion, or House of M, or Siege. That’s Bendis working for the man and I’m looking for Bendis working for himself. His early works, Jinx, Fire, AKA Goldfish, et al are all really good but I’m not sure they’re his lasting voice in this world. But they’re close. I think he’s hitting another classic in the works with the recently launched Scarlet but even I can see it’s far too early to call it on that one.

    I’d love to suggest Bendis’ Daredevil run as his calling card but I’d rather keep that as the calling card for Daredevil. Though it hits on many great Bendis themes, such as back alley dealings, fractured narratives, great characters building up to fantastic moments. I’m wondering whether Ultimate Spider-Man or Powers might actually be his best work, but I wouldn’t know because I sadly haven’t read either. I know, trust me, I know. So, I’m going to pick something that feels like Bendis really hitting the stride of a lot of things he wants to accomplish in his writing. I have picked:

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    Alias was the debut work from the Marvel MAX line, adults only. It focuses on Jessica Jones, a private eye in the Marvel U. She’s a down on her luck noirish type who seems to bounce from bad situation to worse situation and she’s probably in love with Matt Murdock, in theory, but in practice she instead slams herself through an almost self-abusive relationship with Luke Cage. Bendis writes harsh characters in this series, and lays his pages out in a different form from the usual Marvel manner. The first trade looks at Jessica following a man only to find out he’s Captain America. It’s a good case to introduce us to the character and also the tone of the series. The last trade, which focuses more on the history of Jessica and how she’s related to the Purple Man, is also something that I feel could stand alone and be given to many readers. Alias is possibly a hard sell to any comic fan because it does rely, to some degree, on continuity of the regular U, even if Bendis does wash it through his own lens. You could also give the entire omnibus that collects all 24 issues, but again, is that too hefty for a calling card?

    I think Alias shows Bendis at his best writing a tough female lead, crafting a twisted noir story, with capes, and also giving Luke Cage some love. It would set a benchmark for his work with Marvel that Daredevil definitely lived up to but his Avengers work tends to steer away from. Bendis seems to like writing broken people, and he’s actually quite good at it, and while superhero comics will only let you get away with that for so long in a more independent title you can keep someone’s soul in the shadows for as long as you want, and Bendis certainly controls the amount of light that ever gets to reach Jessica’s heart.

    By giving this trade to someone who wants to explore Bendis I think you’d be showing them one of his best sides, a dialogue heavy story that works so well for the characters and the situations. You don’t need massive superhero fights in the sky to make this title sing, all you need are a few well chosen lines and some great art, which Michael Gaydos certainly provides. Alias is good value because Bendis manages to keep the quality, and the tone, true for the whole 24 issue run but I’d let someone new to the man’s work just try the one trade, really soak it in.

    Conclusion

    I chose this title because I think it shows Bendis more on his true game. He can sell the heavy hitting characters, sure, but he dominates on the smaller people in the bigger story. This is Bendis as he instinctively is; it’s him being allowed to play to his strengths. I don’t think you’d be disappointed to check it out.


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More info:
    Written by Brian Michael Bendis
    Art by Michael Guydos

Publisher:
    Image

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Dec 18th, 2011, 7:37 am
Dec 18th, 2011, 8:01 am
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Title: Push (Click to go to the release post)
Writer(s): Adam Freeman and Marc Bernardin (Click to see other books from this writer released on this site)
Review source: NateBest (Review 1 ) and suburban (Review 2 ) (Don't click it, read the review here... ;) )

" If you're into cloak-and-dagger/espionage/political intrigue stories, you'll like the PUSH comics."

Review:
    Review 1 - The first three issues of the "PUSH" comics, which take place prior to the movie! - Wildstorm/DC Comics have released a comic miniseries, written by Marc Bernardin and Adam Freeman, based on PUSH. The comic books are actually prequels to the movie, and are supposed to follow Nick, the lead character in the movie played by Chris Evans, as a youth. I say "supposed to" because the first three issues that I've gone through don't mention him...

    The first three issues focus on Ezra, the only agent in the mysterious "Division" who is a "Changer". His power? You guessed it, he can temporarily take on the form of another person.

    The "Division" is a secret U.S. government agency. In issue #2 and #3 you learn a bit about the creation of the "Division." Apparently the bombs that were dropped in World War II awakened dormant abilities. Ezra was the first agent in the "Division."

    Where did Ezra come from? For that you have to read issue #3... Ezra was part of Hitler's Nachtkrieg project. Hitler would round up people that were believed to possess extranormal abilities. They would then take these people and attempt to reverse-engineer them and create a super-army of psychic soldiers.

    At the end of the war, as the Allies combed through the ashes of the Third Reich, U.S. Grunts found Eztra. Evidence the found suggested that Russia was also developing a similar program.

    This in-turn lead to the U.S. launching their "Division," a domestic version of Nachtkrieg and beating the Russians.

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    I'm not big into spoilers, so suffice it to say that Ezra sees and learns things that he shouldn't and the "Division" doesn't like it.

    The artwork is decent, but what makes these worth having is the story and writing. If you're into cloak-and-dagger/espionage/political intrigue stories, you'll like the PUSH comics. If you're into superhuman slug-fests, you may want to pass. The first three issues were rather light on action.

    Review 2 - The movie Push took an interesting superpower mechanism and put it in a rather kitschy storyline. The graphic novel further develops those superpowers and the characters who wield them. The comic follows the story of Ezra and his friends in the agency which so memorably hounds the main characters of the movie. But here, those friends are linked in rather interesting ways to the plot and characters in the film.

    if you liked the narrative world of the movie, the graphic novel can be a very fulfilling read. the artwork leaves a little to be desired, but the storyline has enough helpful information and tension to make it a fun read. in all, it helps set the stage for the movie in a more interesting way. whatever that's worth.

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More info:
    Writer(s): Marc Bernardin, Adam Freeman
    Penciller(s): Aaron Minier, Bruno Redondo
    Inker(s):
    Sergio Arino, Aaron Minier
    Colorist(s): Gabriel A. Eltaeb, Randy G. Mayor, Aaron Minier
    Letterer(s): Rob Leigh
    Editor(s): Scott Peterson, Kristy Quinn
    Cover Artist(s): Mario Alberti, Mark Simpson - 'Jock'

    Published by Wildstorm. 2009

Publisher:
    Image

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Dec 18th, 2011, 8:01 am
Dec 18th, 2011, 9:24 am
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Title: The Kents (Click to go to the release post)
Writer(s): John Ostrander (Click to see other books from this writer released on this site)
Review source: Eli (Review 1) and Johanna (Review 2) (Don't click it, read the review here... ;) )

" I really enjoyed The Kents, for its merits both as a comic, and as a history of the Civil War. "

Review:
    Review 1 - If you’re a Civil War buff, I suggest adding the Kents to your collection. I’ve found it to be one of the most historically accurate comics that I’ve read. Ostrander succeeds at giving us an entertaining history of the Kent family, including some nice interaction between Clark and Jonathan Kent. I especially recommend this book if you’re interested not just in Civil War history, but in the events surrounding the Kansas area that led up to the war.

    I really enjoyed The Kents, for its merits both as a comic, and as a history of the Civil War. At times it made me furious with a sense of outrage at the disgusting injustice and human cruelty that it relates. For a slight moment I wondered why this comic, more so than any other had aroused such feelings. I mean, I can read about Thanos destroying half the universe and I’m not phased one bit. Then right away I remembered that this isn’t just a comic. This happened. It actually happened much the way that Ostrander depicted it. This kind of storytelling makes history very real. Being able to see the face of these men as they committed these acts, it really helps to bring home the gravity of it all. How despicably evil we humans have treated one another.

    Looking at a character like Nathaniel Kent, I’d like to think that there were men of such honor back then. Those who fought with everything they had for what was right and never gave in, no matter the danger they faced. Of course, there were plenty of people like Nate, many who lost their lives in the struggle for not only what they believed, but for what actually was right.

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    Review 2 - The Kents is the story of the forces that shaped the family who raised an orphan baby into Superman. It’s a historical Western that incorporates real-life characters into a tale of the American frontier. The creators do an incredible job of making an unusual story work within the background of the DC universe.

    Kansas, the home of the Kents, was a bloody battleground during slavery battles, the Civil War, and the succeeding outlaw era. In this book, Jonathan Kent finds a buried box of letters and journals while digging on the farm. Together, they tell a family saga over twenty years of the nineteenth century.

    It opens with the Kent family moving to Kansas as one of a group of abolitionists who want to keep the territory free. Pro-slavers will do anything to oppose them, leading to family blood feuds. Over the years, various Kent brothers hook up with Wild Bill Hickok, Jesse James, the Union army, and more.

    The conflicts are different from your typical superhero book, but there’s still plenty of them, whether the characters are fighting to hold free and honest elections against ballot-stuffers or arguing with each other over when it’s appropriate to break the law for a greater good or battling to maintain a free press or opposing anti-Native American bigotry. The Kents brings history alive with violent conflict the more affecting for being based on real-life events. This is an excellent book to expand a comic fan’s knowledge of or interest in American history.

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More info:
    Story by John Ostrander
    Art by Tom Mandrake, Timothy Truman, and Michael Bair

Publisher:
    Image

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Dec 18th, 2011, 9:24 am