[Zacharie]

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

" It's too bad the series isn't better known among fandom"
Review:

JLA: Destiny was one of DC's Elseworlds projects -- that is, diverging from established canon for a "what if...?" scenario. But it's an odd creation, because in some ways, it diverges so much, it seems less like it wants to be an Elseworlds story...and more like it just wants to be its own, stand alone super hero universe, ala The Watchmen, as a number of the focal characters seem to have no connection to the regular DC Universe (Midnight, The Widow, Triumph, Destiny).

The "what if...?" aspect of the scenario is that Batman and Superman don't exist here. In fact, when the Wayne family was attacked by a mugger, it was young Bruce Wayne and his mother who were killed, but his father survived, using his fortune to bankroll a super hero team -- first, the Justice League of Gotham, then the Justice League of America. But beyond the "Elseworlds" gimmick is an attempt to set the story against a vaguely evocative geo-political realism. The story begins with a terrorist attack on the US, and a middle eastern nation providing sanctuary to the mastermind of the attack -- a master mind regarded with religious adoration by many of his followers. Of course, this isn't a point by point metaphor for post 9/11, but the resonance is meant to be there. But in this case the villain has super powers and super powered henchmen, and has used his genius and abilities to work beneficial changes on the nation protecting him, hence why just as some see him as a villain...others regard him as a hero. As well, there are intriguing subtexts about the chasm between the "super" super heroes and the non-powered heroes.

And in all this one can detect echoes of writer John Arcudi's earlier, in continuity, JLA: Superpower. But Destiny is a more ambitious, more complex exploration of those ideas.

And the result is pretty good.

There's a nice attempt to mix the provocative and high brow...with the action/adventure of a super hero comic (unlike, say, The Watchmen, or Supreme Power, which tended to be more talky and cerebral). Arcudi tosses in, and tosses out, some intriguing ideas and themes, some of which genuinely seem fresh and provocative -- at a time when I was beginning to think these sorts of sagas just recycled the same themes and scenes. And despite the "high brow" aspects, the pulpy story telling factor is still at play, with some surprise twists and turns as we go.

Tom Mandrake's art is mostly effective too. It took me a bit to groove to it, his figures a bit stiff, the art seeming conventional (coming into this just after seeing Gary Frank's on Supreme Power). But it grew on me. Mandrake tells the scenes well, particularly scenes of people just standing about talking, dressing things up with moody shadows and interesting angles. In a way, Mandrake's art reminded by a bit of Frank Miller and Klaus Janson -- but in their early days, and with much more detail, more care to the work. Mandrake's use of thick inks and brush lines is reminiscent of Janson, but Janson when he's more respectful of the underlining pencils while enhancing them with mood and atmosphere. In all this, Mandrake is aided by Carla Feeney's warm and subtle colours.


I went into this, less interested in it as an Elseworlds story, and more interested in it as a stand alone universe. But it seems torn in both directions. The early part of the saga seems largely untethered to DC mythos, with the focus on obscure characters, or sufficiently re-imagined characters that it doesn't really require any familiarity with the "proper" DCU -- even with Thomas Wayne and Lex Luthor thrown in, they are explained in this context. But later, ideas are tossed in that are supposed to resonate a bit more with our knowledge of the DC Universe -- and not always obvious aspects. It isn't that the story doesn't make sense without that outside knowledge, or they aren't explained...but plot twists might seem a bit more out of left field if you don't recognize the homage. And the result can feel a bit like a story with a split personality at times -- is it The Watchmen...or JLA: The Nail?

As well, for all that Arcudi brings up thoughtful issues, by the end he hasn't really dealt with them, with debates over violence, and right and wrong, seeming to get trampled over in the need for the big fights. Part of the point is to suggest that without Superman and Batman as the spiritual centre of the JLA, the team will be lost without a firm moral or ideological focus. But given the scenario presented, it's not really clear what other paths should've been trod -- or whether Arcudi is really criticizing anyone. It sort of seems to be criticizing the use of violence as a solution...even as things are ultimately solved by violence! Arcudi throws in the idea of the non-powered heroes feeling a bit alienated from the super powered ones...but never really does more with it other than to say, "hey, bet this would happen" -- which, admittedly, is maybe all that's needed. Arcudi's handling of the characterization is mixed. On one hand, he does do well enough with some of them, creating a sense of relationships and interpersonal dynamics...at other times, the themes and the needs of the writer's point seem to dictate the characters, reducing them to ciphers.

But Destiny is an above average work, managing to work as a pulpy page turner, with some twists and turns, dressed up with moody art, while also doing the unusual of managing to tread into the much trampled fields of both post-Watchmen meta-realism, and of Elseworlds gimmicky scenarios...and still seeming a bit fresh and original.

In fact, re-reading it, it's too bad the series isn't better known among fandom.

More info:

Script: John Arcudi.
Art: Tom Mandrake.

Publisher:

[Zacharie]

Title: JLA: Act of God (Click to go to the release post)
Writer(s): Doug Moench (Click to see other books from this writer released on this site)
Review source: changingthetimes (Don't click it, read the review here... )

" This could have been great. In many ways, it was great."
Review:

Elseworlds: JLA; Act of God

I was recently lucky enough to discover a copy of this miniseries from DC. The idea, while cool, is almost as flawed in the execution as the ‘Stars and Stripes’ series.

The basic plot is one fine day in the DC universe; the heroes and villains are fighting and saving lives as always – and then one day…

All their powers vanish.

The superheroes that had the metagene – DC-speak for the genes for superpowers – have all been made human and mortal. No powers, no flight, no superstrength, no nothing. Superman, who was trying to save a bursting dam, loses his powers in time to see the dam collapse and thousands of people die. The other JLA members have similar traumatic experiences. The JLA members, now human, meet on their moonbase to discuss the disaster and conclude that the big guns are down – its up to the smaller heroes to take over. The rest of the three issues cover Luthor’s plot to gain world dominance, the former heroes attempt to face up to their loss and the outcome of the whole problem. Much to my surprise, the power loss remains as an ‘act of God’ instead of being explained and the powers never return.

This series has many good points, but there are a few logical inconsistencies in the plot. Superman and the Martin Manhunter were not altered humans, but aliens. They should have kept their powers (which would have ruined the point, I admit, but I digress). Similarly, Green Lantern should have been counted as a tech hero and the ring should have still worked. The excuse that it was alien technology does not explain the continued existence of a fully-powered cyborg or the JLA teleporters.

Further, the reaction of the heroes does not ring true. Why would superman leave his wife and become a drunk? Why would wonder woman take up Christianity? I admit there would be some dislocation and trauma, but would they not manage to come to grips with it, take up copies of Steel’s suits, and continue working?

My final grip is that many of the possible explanations and plots are missed or ignored. Oracle says in the first issue that “no one in government or intelligence services is exactly crying over what’s happened to you”, which, when questioned, allows Batman to reply “it levels the playing field, puts the power in their hands!” But, in the DC universe, is that reaction typical? Superman saved the Earth more times than I can count and most of the other heroes are also important. If I was the US president in that situation, I’ve be beating the intelligence agencies to find out what happened and how to reverse it before an alien armada arrived to take over. I can see the Wildstorm president doing that, the heroes there are often at odds with the government (see the Coup d’etat series), but not the DC universe.

And yet that would have made the perfect plot! The DC government decides to cripple most of the super powered beings. How, why and how to recover would have made a superb plot. Instead, the whole disaster is blamed on a dexs-ex-machinia –or on God.

This could have been great. In many ways, it was great. But it fails to go past 5.

More info:

Written by Doug Moench
Art by Dave Ross

Publisher:

[Zacharie]

Title: Calvin and Hobbes (Click to go to the release post)
Writer(s): Bill Watterson (Click to see other books from this writer released on this site)
Review source: Matt Bird (Don't click it, read the review here... )

" Read Calvin and Hobbes. Just... read it."
Review:

If ever there was a comic strip that more neatly encapsulated growing up than Calvin and Hobbes, point it out to me. I'd love to read it.

For those of you not fortunate enough to be of reading age when Calvin and Hobbes was running in newspapers, the strip focuses on a boy, Calvin, and his tiger Hobbes. Together they undergo all manner of imaginative adventures that stretch the boundaries of creativity while still staying true to what it's like to be a 6-year-old, forced to deal with evil teachers and bossy parents.

Calvin is not a well-mannered child. Far from it. He gets bored easily, and when he does mayhem invariably ensues as he looks for ways to entertain himself. Sometimes this can include harmless jaunts into the woods with buddy Hobbes, though all too often Calvin projects his imagination onto his surroundings, creating enemies and inventions out of virtually anything. Snow men become murderous mutants, parents horrible aliens that must be defeated by the heroic Spaceman Spiff (one of Calvin's alter egos) and cardboard boxes miracle machines that can travel through time or create clones. None of these things seem to end well for Calvin, and most strips end with some kind of punishment.

The dynamic between Calvin and Hobbes is the highlight of the book. They're best buddies through thick and thin - and perhaps because of that, they constantly get into arguments, debates and outright fights trying to defend their respective viewpoints. This can lead to some surprisingly insightful strips, especially considering they're coming from a six-year-old and his talking stuffed toy. Which leads to one of the strip's biggest points of interest: is Hobbes just a stuffed animal that Calvin imagines to be alive, or does he actually walk and talk the way he appears to? The strip never answers that question, and I thank Watterson for it.


It helps that Calvin and Hobbes looks gorgeous. The characters look simple enough in your average strip, true, but Watterson loved to break boundaries, ever maintaining that even a mere comic strip can be art. Consequently the strip hops from the usually dot-eyed characters to sudden bursts of creative reality, with huge aliens sauntering across pages or Calvin suddenly evolving into a handsome comic book-esque version of himself. Watterson is an incredible artist, there's no two ways about it.

I suppose what I appreciate most about Calvin and Hobbes, however, is its universal staying power and appeal. I loved the strip when I was a child, despite not understanding the lion's share of what the characters talked about. Each strip was still funny because it was nevertheless accessible to just about anybody. And now, as an adult, I get the jokes in those old strips, making them even funnier than they used to be. Watterson seemed to work carefully to keep his strips centered on core truths rather than specific events, so you won't have to worry about not understanding a strip because the references in it are dated. Everybody can appreciate Calvin and Hobbes because everybody's been a six-year-old at some point in their lives, and probably lived through many of the same catastrophes Calvin endures.

Read Calvin and Hobbes. Just... read it. There are few things not to appreciate in these strips, and if you have even the slightest sense of humor you'll enjoy all of Calvin's insane adventures. There's a good reason for these books still being in stores today.

More info:

Written and illustrated by Bill Watterson

[Zacharie]

Title: Eternals (Click to go to the release post)
Writer(s): Neil Gaiman (Click to see other books from this writer released on this site)
Review source: Chad Nevett (Don't click it, read the review here... )

" I do walk away from this series wanting to read more."
Review:

Eternals by Neil Gaiman and John Romita, Jr. is a book that ends much stronger than it begins. The ending issue is actually the only interesting chapter in this story, I’d argue. What leads up to it is a pretty standard ‘race of gods are regular people and need to be reminded who they are’ story. I’ve seen that story a few times before and Gaiman doesn’t bring much new to it. It has an obvious endpoint and is drawn out without much suspense. Granted, if the actual telling of it was spectacular, that wouldn’t matter, but it isn’t. It’s rather typical ‘set up differing lives and somehow draw them together’ bullshit. Before the J. Michael Straczynski Thor relaunch, there were rumours of Neil Gaiman spearheading that and, honestly, this feels like the rumoured concept (and even a variation of what JMS did) simply transplanted to these characters. That may not be the case, but that’s what sprang to mind while rereading this.

The Eternals are a group of characters created by Jack Kirby in 1975 for Marvel. Not meant to be part of the Marvel universe, Kirby teased with that idea as the Powers That Be pressured him to bring the characters into the fold — eventually they were. Basically, the Eternals are the basis for our gods (something that doesn’t entirely work in the Marvel universe given the pantheons of gods that exist there), created by the Celestials to balance out the influence of the Deviants. The Celestials being big giant robot-esque space gods that altered the Earth for their own mysterious purposes. The Deviants and Eternals are both creations of the Celestials for the purpose of ruling the Earth for them — both too far in one direction. The Deviants are mutants, monsters, too violent and harsh; the Eternals a angelic, immortal, barely breeding, too pure. They’ve been in conflict for thousands of years with humanity in the middle. The Celestials have returned a few times to check in/intervene in the affairs of the Eternals and Deviants, the last time being thirty years previous (Kirby’s Eternals series).

The series begins with Mark Curry, an intern at a hospital that’s confronted by Ike Harris, who claims to be a superhuman/god and that Curry is also one. He tells an accurate story of the history of the Eternals/Celestials/Deviants with a few wrong specifics. Curry thinks he’s insane obviously. What follows is Curry eventually realising that Harris was right as he encounters Sersi and other Eternals, eventually used as a pawn for the awakening of a Celestial that sleeps underground in San Francisco. Until the Celestial is woken up, the story is a little plodding and obvious and dull. It’s the predictable sort of story I mentioned above. That’s not to say there aren’t some good parts, but you keep waiting for something to happen, for the story to get where it’s obviously going, and it takes six issues for that to happen.

When the Celestial awakens, it is ready to destroy the planet, but after communicating with Mark Curry/Makkari, it decides to stand there for 50 years and will pass judgement then. That’s an interesting idea and lends itself well to a future story down the road (or as a hypothetical story of what happens in 2056/2057 that isn’t actually canon). As is the idea of a banished/disgraced Celestial put to sleep under San Francisco because he spoke out against the mistreatment of the Deviants. In a nice twist by Gaiman, we find out that the Deviants are a delicacy for the Celestials — they’re cavier! We see the Celestials scooping up the Deviants and eating them! Great idea and explains why the Deviants were made to procreate so much. I would have liked to see Gaiman do more with the sleeping Celestial, though. Then again, anything there would wind up being a variation on stories he did in Sandman probably.

Once a small group of Eternals are awakened and made aware of who they are, the story becomes much more interesting as we begin to see old conflicts come to light and uncertainties about where to go now. There are almost a hundred Eternals out in the world, unaware of their true nature. Makkari has been enlightened and affected by the Celestial, acting different — and his communication with the Celestial possibly being a sore spot with Ajak, the Eternal whose ability it is to communicate with the Celestials. Thena has a son — is it fully human or part Eternal or what? Druig has been given free reign over a small former Soviet nation, promised by Zuras to be left alone by the Eternals… But that’s a weakness of the series: it’s all set up. Gaiman spends the entire time moving the characters from A to B and setting up some great stories, but never explores them. The journey from A to B is obvious — it’s what we know will happen, so why waste so much time on it? Why not jump to the interesting part?


One thing that I will give the first six issues is that the manner in which the Eternals are made humans and forget who they are is interesting: it was Sprite, the Eternals what was always 11 years old. After thousands of years being stuck at 11, he tricked the other Eternals into using their powers and the sleeping Celestial to make the Eternals human. Finally, he could age — he could turn 12… a great motive and keen character-based story.

One of the goals of this series was to firmly place the Eternals in the Marvel universe. Throughout the series, there are reference to the Superhuman Registration Act, even a reality show based around people competing to be heroes (hardly a new concept either at the time), and appearances by Iron Man, Yellow Jacket, and the Wasp near the end — with Iron Man demanding to know whose side the Eternals are on and the response by Zuras, the leader of the Eternals, is pretty funny: “IF YOU SAW TWO GROUPS OF CHILDREN ARGUING OVER WHICH OF THEM COULD PLAY IN SOME WASTE GROUND, WOULD YOU CHOOSE SIDES?” Gaiman has fun with the then-current status quo and it works.

What can I say about John Romita, Jr.’s art that hasn’t been said already? His work here is gorgeous. Looking at the first issue, there’s a double-page shot of some Celestials, Eternals, and Deviants and I’m struck by how Romita makes the Celestials his own. They’re obviously influenced by Kirby, but he adds a grittiness to them. They look more made out of stone than out of metal, which is a cool look. The way the shadows fall on them is uniquely Romita. His bulky art style works for the subject matter — updating Kirby concepts for the contemporary Marvel universe. Is there any modern artist that has drawn more of the Marvel universe than Romita?

His redesigns of the Eternals are hit or miss for me, but rarely strongly in either direction. The sketchbook in the back of the hardcover shows Romita’s sketches and a small shot of Kirby’s original designs for the characters. Ikaris, Makkari, Sprite, Thena, and Zuras all look better. I wish he would have deviated from Kirby more for Druig as his costume is a little too goofy and not evil/dark enough for the character that Gaiman writes here. Sersi is pretty equal, while I prefer Kirby’s original design for Ajak more. It is goofier, but more distinct, less restrained than Romita’s redesign. It’s a fine line and I can understand never wanting to deviate from Kirby too much, and, for the most part, Romita nails it.

All in all, I do walk away from this series wanting to read more. I read a few issues of the short-lived ongoing that came after, but wasn’t a fan. I would much rather that Gaiman started with issue six/seven, put what happened before in a condensed form that’s revealed somehow, and followed up on the new status quo he introduces for the Eternals.

Next time (be it a week or two weeks from now), I’m going to go back further and begin a two-parter on Jack Kirby’s Eternals because doing all of this backwards is fun.

More info:

Written by Neil Gaiman
Art by John Romita Jr.

Publisher:

[Zacharie]

Title: Xin: Legend of the Monkey King (Click to go to the release post)
Writer(s): Kevin Lau and Erik Ko (Click to see other books from this writer released on this site)
Review source: Sheena McNeil (Don't click it, read the review here... )

" Xin is an enjoyable read that is easy to get into and get hooked on."
Review: Xin: Legend of the Monkey King #2

After breaking the seal on the Light of Truth, Xin is forced to accept a challenge from the Heavenly Goddess. He must fight her five Elemental Fairies: Fire, Wood, Water, Gold, and Earth. Can he take them or will his ego be his downfall? And Sanzen must now guide the light back to the West, but which deity will she choose to have accompany her on this dangerous task?

This second issue is an excellent follow-up to the first. The plot fills out more and the battle scene is just as powerful and well-choreographed as the first - but in this one the tables are turned as Xin loses the upper-hand. The plot is taking form, and the reader can see what general direction the story is going to move in. Since Xin has destroyed the seal while trying to prove his power to the other gods, a quest must be undertaken to replace the shield. Quests, while a fairly common theme, can be quite unique and entertaining, and Xin is shaping up to be both.

This comic is based on the Chinese legend known as "Journey to the West". In it the Monkey King is imprisioned after his revolt against those in power to claim the title he believes he deserves. He is freed centuries later by a monk travelling west in search of the Sutra, the Buddhist holy book, and helps him complete his quest. Xin and the Monkey King of this legend are in very similar - though not exact - situations, and both are arrogant, skilled with a staff and magic, and rebellious. The plot twist in Xin that makes it stand out is that it is dealing more with heavenly beings than with earthly kings and the quest is to seal the Light of Truth rather than to retrieve the Sutra. It will be interesting to see in what other ways Lau and Ko deviate from the legend and in what ways they let it remain the same.


I love the five fairies, but it's rather difficult to cheer for both them and Xin. The fairies have their own attitudes and egos due to the fact that they are very powerful, but they even go so far as to question the accuracy of the Heavenly Goddess! The Goddess wouldn't take that attitude from Xin but she seems to take it from her fairies. Each of the fairies has an elemental power - four of which are easily understood: earth, fire, water, wood. However, gold I don't quite understand. It is not clear what she did to Xin or how she did it. When you think of the other four, possible powers are easily imagined, but not so with gold. Gold doesn't really have a destructive force in nature like the others do. Perhaps, there will be a bit more insight into that in a future issue. Then there's Xin. Despite his cocky attitude, he is the character with which the reader is supposed to and does identify with. He has been looked down on by his peers and cheated (or so he believes) of the recognition that is rightfully his. He is as rowdy, boistrous, and mean-tempered as the Monkey King of legend. Yet there is this underlying sense that he has indeed been cheated, and that while he has his faults, he may in fact be as good as he claims. You want to give him a chance while you also think he needs an ego or reality check.

The art is amazing with vivid colors that radiate life. Lau and Dogan really know how to make a page pop with energy. Every movement - especially in the battle scenes - is powerful and precise with nothing seeming to be dull or listliss. This action-packed comic intriguing as well as entertaining. There is the memory scene of a battle between Xin and Toonie (now General II), a little rage from the Heavenly Godess, and Xin taking on all five fairies. That battle is a good half of this issue, but that does allow it to showcase the powers of Xin and each of the fairies. Teamwork is pitted against a lone fighter without it being too unbalanced. I am truly interested in finding out what happens next! With such beautiful art, powerful battle scenes, and an interesting story line Xin is an enjoyable read that is easy to get into and get hooked on. Xin is the Legend of the Monkey King like you've never seen it before.

More info:

Writer: Kevin Lau and Erik Ko
Penciler: Kevin Lau, Omar Dogan
Inker: Kevin Lau, Omar Dogan
Colorist: Kevin Lau, Omar Dogan
Letterer: Jason Levine
Cover Artist: Kevin Lau, Charles Park

Publisher:

[Zacharie]

Title: Archaic (Click to go to the release post)
Writer(s): James Abrams (Click to see other books from this writer released on this site)
Review source: Dan Head (Review 1) and James (Review 2) and (Don't click it, read the review here... )

" Another of the great undiscovered gems that I found... "
Review:

Review 1 - Archaic from writer James Abrams and Artist Brett C. Martling. These guys gave me three and a half issues of this mini series, and I'm so glad they did because this one was another of the great undiscovered gems that I found at the Con.

Archaic is the story of a rebel prince and his family as they fight against their king, a man either possessed by or working in the company of demons. I'll be honest: this book doesn't have the world's greatest sequential art, but the design sense that's at work here is very strong, and the coloring makes it all work nicely. And the lettering here is simply outstanding. The story itself is seductive: sexy, violent, and mysterious. I can't put my finger on exactly why it worked, but the weird magical settings and obscure Slavic cursing drew me in immediately and didn't let go, and that's despite the fact that the dialogue is stilted in places. Abrams overcomes that minor defect by virtue of avoiding back story and instead getting right into the meat of the plot, working hard to make us care about the characters even as he is making us wonder what the Hell is really going on. Even after three issues, there are still more questions than answers, but that storytelling misdirection neither confuses nor lessens the tension.

I don't know how these guys are doing in terms of sales and profits on this book, but I sincerely hope that they are able to finish this story. I'll be with them every step of the way if they do.


Review 2 - "The level of detail and creative passion pumped into every level of Jon Abrams and Brett Marting's epic fantasy adventure series Archaic from Fenickx Productions crackles on each page. Archaic formulates a dark and stylishly horrific tale of two warring families in a world born of Slovakian myth, and the duo's vision of a civilization powered by spectacular magics. For fantasy and horror lovers alike unfamiliar with the book, pay attention: This is the best ongoing epic you've never read."

Hell, I'm so stoked about it I don't even mind my lil' brother, Jon, getting credited for my (James) work... heh... pretty funny that... He got a kick out of it when I called him up and congratulated him on a job well done.

More info:

write:r James Abrams
Artist: Brett C. Martling

Publisher:

Fenickx Productions LLC

[Zacharie]

Title: Ghost Rider (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: Kenneth Gallant (Don't click it, read the review here... )

" Ghost Rider is turning out to be one big dud and shooting blanks every time out."
Review: Ghost Rider: Trail of Tears #5

A gang of vicious killers returns from the grave to wreck havoc upon Travis Parham, but will the mysterious rider following along be his salvation or undoing?

Garth Ennis and Clayton Crain have reunited once again to give Marvel readers another chance at glimpsing the Ghost Rider, only this time the focus switches onto the western era incarnation of the character. Of course, this is an entirely new interpretation of the western era hero and it seems to be playing out as a muddled and somewhat misguided concept.

Now I say muddled because so far after four issues I have a hard time deciphering the true essence of what the western era spirit of vengeance is supposed to be. In a nutshell though, the first four issues centre up the efforts of former confederate soldier Travis Parham’s efforts to track down a gang of killers for the killing of a former slave. Travis of course is hell bent on dealing out his own brand of justice, and he succeeds in dispatching them all to hell, only they have mysteriously all returned from the dead. As we start this issue, the gang has tracked Travis down in order to tear him to shreds as payback for what he has done, but the mysterious rider shows up to throw his hat in the ring.


Okay, so now that you have the gist of the story, Garth Ennis has written another disappointing tale utilizing this character. Now I can’t say I was a fan of his "Road to Damnation" series because the plot was so muddled throughout, and it’s the same case here. My biggest disappointment is that it doesn’t make much sense and he’s had the audacity to keep the rider ambiguous throughout each issue. I just can’t make heads or tails of this thing, and it’s just a shame because the art of Clayton Crain is quite good.

Of course any series that has Clayton’s name attached to it should raise plenty of eyebrows. The guy certainly has talent and he often showcases a riveting palette of colorful transgressions for every single page he touches. In this issue alone, he employs dark hues of burnt umber and orange in a coalescing fashion to establish a creepy tone throughout. He also relied heavily upon a choice of close range shots to ensure a maximum effect for well paced action sequences, and it all blended well enough for my tastes. I think Clayton should really be given a monthly book, but that’s probably not likely going to happen since it takes him so long to work with a painter program on his computer.

At least for me, this book seems to be following that yin and yang mold of the last series. I mean I really like the work of Clayton Crain, but I just can’t seem to stomach the type of writing Ennis is handling these days. I am beginning to wonder if he really knows how to write a thought provoking story from start to finish, and it’s such a shame when you get right down to it. His work on Preacher was superb, but Ghost Rider is turning out to be one big dud and shooting blanks every time out. Now I don’t know about you, but aren’t western heroes supposed to be characterized by the size of their guns? Sadly, none of that is happening here.

More info:

Words: Garth Ennis
Art: Clayton Crain
Inks: Clayton Crain
Colors: Clayton Crain

Publisher:

[Zacharie]

Title: Infinite Crisis (Click to go to the release post)
Writer(s): Geoff Johns (Click to see other books from this writer released on this site)
Review source: The Gentleman (Don't click it, read the review here... )

" This can only confirm your suspicions that superhero comics is an insular world impenetrable to non-comics-geeks."
Review:

It's all been building to this. 2004's status quo-shaking limited series Identity Crisis set the stage, and the powers that be at DC Comics chose to use that foundation as nothing less than a springboard to shatter that status quo into innumerable shards. No less than four six-issue miniseries -- Day of Vengeance, Villains United, Rann/Thanagar War and The OMAC Project -- were required to plunge the DC Universe into chaos, with the much-ballyhooed Infinite Crisis serving as the climax that would tie it all together and deliver the knockout punch.

If only. Like its predecessor, the mid-'80s landmark maxi-series Crisis on Infinite Earths, which compacted the DC "multiverse" into one more-or-less cohesive world, Infinite Crisis -- now collected in hardcover -- is one of those packed-to-the-gills mainstream comics "events" in which some characters appear for as long as a panel or two, just enough time to utter a nugget of expository dialogue and buzz off back to their own book. No doubt writer Geoff Johns and the editorial staff spent many hours mapping out the logistics of the whole thing, but if Infinite Crisis represents something of a technical triumph, as a feat of storytelling -- even mainstream superhero storytelling (a field for which the bar isn't set too terribly high) -- it proves lacking.

If you haven't done the required pre-reading (the aforementioned miniseries, plus the Infinite Crisis Companion and, for extra credit, Superman: Infinite Crisis), here's an impossibly brief attempt to encapsulate some of the set-up: Batman, after the mind-wiping events of Identity Crisis, constructed the Brother Eye satellite to keep tabs on his allies; it's somehow achieved sentience and is dispatching entities known as OMACs ("Omni Mind and Community") for some diabolical purpose. Maxwell Lord, head of a covert organization known as Checkmate, killed the Blue Beetle and attempted to mind-control Superman before Wonder Woman decided killing him was the best course of action. Needless to say, DC's "trinity" -- Superman, Batman and Wonder Woman -- are at odds, and bicker with each other as all hell breaks loose. Civil war wages out in space; the Spectre has waged his own war on all the universe's magic-wielding characters; and a good number of heavyweight supervillains have formed a united front and are decimating heroes left and right.


Got all that? That's just where Infinite Crisis picks up, and things don't get too much clearer than that. Actually, that's not entirely true: The primary conflict is easy enough to understand. A group of characters who survived the earlier Crisis -- including Alexander Luthor (the heir of a good Lex Luthor from a now-destroyed alternate universe), the Superman of a parallel world called Earth-Two, and Superboy Prime (the only super-powered being from "our" "real" world) -- blame Earth's heroes, especially the Big Three, for allowing this mess to happen, and have hatched a plan to restore order and create a perfect world from the pieces of some of those previously erased universes. (As it happens, Alexander Luthor and Superboy Prime have apparently gone bat-shit crazy, as well.)

That conflict stands at the core of Infinite Crisis, and when the series is focused on it, things are more or less possible to follow. But this Crisis simply has too many threads to keep track of and too little space in which to do it. Key events whiz by without a clear understanding of just what happened. (What's the deal with all the Flashes getting sucked into the Speed Force? What role, exactly, did the sentient Green Lantern planet Mogo play in helping Superman subdue Superboy Prime?) Nobly, and Quixotically, Johns and his co-conspirators attempt to introduce a new character (the new Blue Beetle) amidst all this madness -- needless to say, it's a less-than-satisfying debut.

All of this would be easy enough to brush aside if Infinite Crisis hadn't gotten attention from the mainstream press, and if this collection weren't being sold in mass-market retailers like Borders and Barnes & Noble. As it is, not only is it hopelessly convoluted, it's lurking out there waiting to waylay readers who might've read that it's "important" but have no idea who's who and what's what. This collection doesn't even offer a "what's gone before" summary to try to bring people up to speed -- the only way newcomers will even hope to follow, let alone enjoy, this Crisis is to do the required reading beforehand. And that's practically unforgivable. (By comparison, mainstream comicdom's other world-shattering "event" -- Marvel's Civil War, which is still unfolding and may be collected sometime next year -- looks to register as a "done in one" with only a modicum of prior knowledge required to get the most out of the experience.)

If you're a follower of DC Comics, you'll want to pick up Infinite Crisis just to see what's going on, and chances are you'll enjoy the nuances (at least the ones you're able to get). You'll also likely appreciate the artwork by Phil Jiminez (this generation's George Perez), assisted by Perez himself (the pre-eminent '80s superhero artist, who did Crisis on Infinite Earths) and Jerry Ordway. Even so, you'll need a road map (or four, or five, or six) to fully appreciate it all. If you're a newcomer, this can only confirm your suspicions that superhero comics is an insular world impenetrable to non-comics-geeks. I suspect that's not the effect the DC brass are aiming for.

More info:

Written by Geoff Johns
Art by Phil Jiminez

Publisher:

[Zacharie]

Title: Batman - Arkham Reborn (Click to go to the release post)
Writer(s): David Hine (Click to see other books from this writer released on this site)
Review source: Rob (Don't click it, read the review here... )

" A nice little book."
Review:

In a recent interview with Comic Book Resources, David Hine said: “I have a natural affinity for crazy people. If you look at my work, particularly [my Image graphic novel] ‘Strange Embrace,’ you’ll see I’m more interested in twisted psychological thrillers than action stories. I’ve learned to write action scenes because that’s so much a part of the American mainstream comics scene, but those scenes are always less important than the psychological stuff. The trick is to externalize the psychosis so that you can make it work dramatically.”

If he was looking for psychosis, he came to the right place with Arkham Reborn.

The book picks up where Hine left off in his Battle For The Cowl: Arkham Asylum one-shot (collected in Batman: Battle For The Cowl Companion). The asylum has been rebuilt after it’s destruction at the hands of the mysterious new Black Mask. Under Dr. Jerimiah Arkham’s guidance, it now looks more like a temple of healing than a prison for the criminally insane. But Arkham’s honeymoon is short-lived, as strange things start happening to the inmates, pushing the doctor himself to the brink of sanity. The story then jumps forward to shortly after the events of Batman: Life After Death. Black Mask is now an inmate, and Jerimiah Arkham must ask himself if he’s the one truly running the asylum. Or for that matter, if he’s ever been the one.

I’ll be honest: It’s tough to review this book without giving away the best part. There’s a big M. Night Shyamalan-style plot twist about 3/4 into it that changes everything. If you haven’t read Life After Death, it’ll come as a bit of a shock…or maybe it won’t. Perhaps it all depends on how one reads into certain plot details. Personally, I was a little confused at first. Either way, if you read both books it’s obvious David Hine and Tony Daniel worked together to a certain extent.


Hine certainly lives up to his words about his interest in the human psyche, as this book is a psychological thriller as opposed to an action adventure. Obviously there are action elements present, but the story’s core lies with Jerimiah Arkham, and what’s happening on the battlefield that has become his mind. Is the man watching over Gotham City’s domain of the doomed about to break? Has been broken already?

What’s nice about this book is introduces some new, interesting characters to the continuity. Aaron Cash, the Asylum’s head of security, is brought straight from the Batman: Arkham Asylum video game to the printed page. We also get Alyce Sinner, Dr. Arkham’s uncomfortably-named assistant director. We also get Dr. Arkham’s three secluded patients, his “lovelies,” that he keeps away from the rest of the inmates and has allowed himself to have a personal relationship with.

The art works well with the overall tone of the book. Jeremy Haun handles almost all of it himself (John Lucas is a co-inker on Detective Comics #864). The way he shades and uses colors, he conveys a sense of grim foreboding in every panel. Though in all fairness, the fact that Arkham Asylum isn’t exactly known as a happy place likely subconsciously guides the reader toward that foreboding sense anyway.

Overall, a nice little book. But it really helps if you read Life After Death beforehand.

More info:

AUTHOR: David Hine
PENCILLER: Jeremy Haun
COLLECTS: Arkham Reborn #1-3, Detective Comics #864-865
FORMAT: Softcover

Publisher:

[Zacharie]

Title: Aliens: Salvation (Click to go to the release post)
Writer(s): Dave Gibbons (Click to see other books from this writer released on this site)
Review source: Daniel V. Reilly (Review 1) and Stavros (Review 2) (Don't click it, read the review here... )

" Highly recommended."
Review:

Review 1 * Aliens: Salvation and Sacrifice collects two one-shots by Dark Horse Comics that coincidentally deal with not only the marauding Alien "Bugs", but also with Religious faith being tested under extreme conditions....

Part one, Salvation, by Dave Gibbons, Mike Mignola, and Kevin Nowlan revolves around a marooned duo, trapped on a planet with the Alien cargo their ship was carrying. As if the Aliens weren't bad enough, one of the men is stone-cold crazy, while the other clings to his religious beliefs for justification of the things he must do to survive. Mignola and Nowlan's art is gorgeous, and I've never been a fan of Dave Gibbons' writing, but his story is gripping, and the feeling of impending doom he creates is palpable.

Part II, Sacrifice, deals with another marooned shipwreck survivor, this time a woman, who stumbles across another group of survivors, who have a faustian pact with the lone Alien who haunts the jungle outside their crude compound. Did I mention that the woman, Ann, is a Priest? She's been dealing with memories of seeing her mother murdered by an Alien over 20 years ago, and she sees this as her chance at redemption. Writer Peter Milligan does a great job, and the art, by painter Paul Johnson, is staggeringly beautiful. I've never seen the Aliens so well-depicted! You truly get a sense of the awe and fear that these creatures could inspire.

All in all, Salvation and Sacrifice is an amazing example of what could be done with these creatures in the Comic format. (Try reading it while listening to Elliot Goldenthal's score for Alien 3- It'll crank the creepy factor up to 11!)


Review 2 - This is the Aliens book with a good balance of action and a different kind of drama: religion. Both parts of the book involve a character isolated from their friends and left to fend themselves from the Alien menace. The art is both unique. In Aliens salvation we get a simple yet stylish art technique, involving lots of shadows much like AvP Eternal. In Aliens sacrifice the art is cover art quality, and this is an entire comic we're talking about! Its rare to find such good quality art in comics, but Aliens Sacrifice has it.

Salvation is the more action oriented of the two, and the dialogue style and the character of Selkirk mold it into something that will leave you completely awed at the very end, it also has an alien 3 feel to it but not in that bad way. Sacrifice is the more drama oriented one, dealing with human spirituality and its will to survive. The ending is something different, considering this is a book with religion in it, I was glad it had a twist that nobody could imagine the main character would do. Overall, both stories are great and I promise that their endings will move you in one way or another. Highly recommended.

More info:

Writer: Dave Gibbons
Cover Artist: Mike Mignalo, Dave Stewart
Penciller: Mike Mignola, Paul Johnson
Inker: Kevin Nowlan
Letterer: Clem Robins, Ellie De Ville
Colorist: Matt Hollingsworth

Publisher:

[Zacharie]

Title: Black Panther - The Most Dangerous Man Alive #526 (Click to go to the release post)
Writer(s): David Liss (Click to see other books from this writer released on this site)
Review source: FriendRoss (Don't click it, read the review here... )

" The book is so smooth, fun, and smart."
Review:

First it was American Panther, now it's Six-Armed Panther? The arachnid infection griping Manhattan hits T'Challa, but that doesn't mean he'll stop trying to protect Hell's Kitchen! what Mr. Liss has done here is stunning. He has continually taken what he was given and crafted contingincy plans and stradegy that T'challa himself would be proud of. From Where Liss' run started to where this book ends is amazing. Mr Liss has given the fans what they wanted and more. From wonderful original villians like vlad and the american panther. To the return of fan favorites Hunter and the near return of Casper Cole. Liss took our beloved hero from where he was left after a unsettling doom war and returned him to the precipice of reclaimed glory. Sadly it apears the story will be left short. But what has been coming out has been what i consider amazing entertainment. But who knows, maybe this is all a part of a grand plan

The issue starts out with Panther franticly trying to protect the Wakandan National the Kingpin is after. Through some various impravasations Panther feels like he eludes Typhoid Mary and Lady Bullseye by stricking a pool of gas with a spark off of a thrown sword. It felt kinda weak at the time, and is the one sticking point to me... typhoid mary aint scared of fire.. and as a person who works on cars, when they are tipped over they dont really leak gas like that.. but what ever, later we learned it was orchastrated by Kingpin and went down how he wanted it.. so i can let it go

Panther zeros in on the 4th wakandan missing.. below panther sneaks up on the Hand who is protecting the 4th BOD member who is complicite with the kingpin... from here Liss weaves a buetiful yarn in the Christopher Priestian style

At this point i was personally smilling ear to ear.. the sight of wakanda today and to hear of its recent plight, it was a nice payoff.. then liss went and did this.. panther sitting down and playing chess with the kingpin was to much for me.

The book is so smooth, fun, and smart. I cant believe they are ending this when its getting this good!

Please.. give this comic a chance.. its a 2.99 book. try the last 5 issues of Mr Liss' run and tell me black panther aint cool. The guy has everything people say they are looking for in a modern hero

More info:

Written by David Liss
Penciled by Shawn Martinbrough & MICHAEL AVON OEMING
Covers by FRANCESCO FRANCAVILLA

Publisher:

[Zacharie]

Title: Tron: Betrayal (Click to go to the release post)
Writer(s): Jai Nitz (Click to see other books from this writer released on this site)
Review source: Mr. E (Review 1) and H. Tague (Review 1) (Don't click it, read the review here... )

" If you enjoyed either of the tron movies then I would recommend this book."
Review:

Review 1 - I have never seen the original Tron, so I'm not too familiar with the franchise. I know the basic plot, and I've seen "Tron: Legacy" which I thought really could have used more exposition. But my brother gave me this book after he bought the blu-ray for himself, and I'm glad he did. The story here is much easier to follow, but Kevin Flynn's aspirations for the ISOs and how they'll change the world is still not reveled. And the book is not a complete bridge, more like a shortened documentary of what happens between films. The story revolves around Kevin Flynn trying to live two lives, one in the Grid, and the other in the real world. He faces challenges in both, but the one in the Grid involving "viral bugs" goes unexplained if it's ever resolved. Since it's not brought up in "Tron Legacy" I'm assuming it was, but since it's the chain event for the rebellion of CLU and the genocide of the ISOs I would have liked to have seen it. Not to say it's a huge hang-up, I still dug the story and art. There's good characterization going on, giving everyone motives and events that set up the next part of the story. The art in the real world is okay, but the art in the Grid really shines. Everything is black and outlined by neon, looking like a 90's video game almost. After finishing it, I want to see the original movie more than ever to see if everything I've learned so far will click. And since there's a tv show and movie sequels in the works I'm betting the book will give me enough backstory so I won't be lost. Also because I got this for free, I can't say if the price is fair or not, but if you enjoyed either of the tron movies then I would recommend this book.


Review 2 - Among a slew of video game tie-ins, this graphic novel was also released with the intention of bridging the gap between the two films. If you're curious the game have little directly to do with the story presented here, except that the PS3/360/PC game is a direct sequel to this book and a prequel to the new film, Legacy.

The book is split up into four parts. The first is the prologue, which is just a few pages to summarize the events of the original film. The next part is chapter 1 which covers the time period around when Kevin Flynn created the grid and discovered the Isos. In the real world, in the real world the story focuses on Kevin's struggle to balance his time in the grid with his personal life and his work.

The second chapter starts up a few years later, as tensions rise between the Isos and the basics in the grid, and Kevin continues to struggle against balancing his multiple lives. As relations continue to strain on all ends, Clu begins his spiral to his inevitable fate. The final part of the novel is the epilogue, which ties up events leading into the film.

The artwork is done by Jeff Matsuda and Andie Tong. It has a colorful, cartoony look to it, which is a bit of a deviation from typical Tron stylings. For a one-shot graphic novel, I would've hoped for something better, but it isn't the worst I've seen either.

It's a nice little addition to the storyline leading up to Tron Legacy, and is a fun read. I'd strongly recommend it to any fan of the series.

More info:

Andie Tong penciler
Jai Nitz writer
Jeff Powell production
John J. Hill letterer
Peter Pantazis colorist
Salvador Larroca cover

Publisher:

[Zacharie]

Title: Superman – Speeding Bullets (Click to go to the release post)
Writer(s): J.M. DeMatteis (Click to see other books from this writer released on this site)
Review source: cyber_person_53 (Don't click it, read the review here... )

" Get it. You won't regret it."
Review:

Warning: This review includes spoilers to the material reviewed. If you hope to read this some day, be careful how you read my review.

I first came across SUPERMAN: SPEEDING BULLETS in a newsagent not long after seeing the third BATMAN movie and developing a serious Batman addiction. It looked fantastic. I didn't get it. This proved to be a mistake - I never saw it again.

Until about four days ago, in a small Adelaide collectors store - when, prompted by years of vague, half-memories and a sense that it would have been a great purchase, I snapped it up for about AUS$10.00. Am I glad I did? You bet. It's by no means perfect, but it's an excellent work, and proof that the memory doesn't always cheat. It's easily one of my best purchases.


The Elseworlds plot is intriguing; what if the baby Kal-El had landed outside Gotham, and had been raised not by the Kents, but by the Waynes? And suppose that baby, traumatized by witnessing the murder of his parents and then frying the murderer with his heat vision, grew into a bitter, obsessive Bruce Wayne, who decides to bring terror to those who bring terror to others as the Batman? And suppose, in his quest for justice, he locks horns not only Lex Luthor (who is hiding a dark, terrible secret of his own in this work), but his true-love, Lois Lane (the narrator of this story)?

For the most part, despite the cramped length, the writers have an immense amount of fun contrasting the two heroes who represent polar opposites of the D.C range within the same person. The superpowered Batman seems far darker, more obsessive and a demonstration of the kind of damage someone really obsessed with dishing out justice to evildoers can do withsuper-strength and heat-vision. Seeing this is pretty damn fantastic - I've always thought that Batman was cooler than Superman, and seeing a superpowered Batman is just awesome. In an interesting comparison, his alter-ego Bruce Wayne is strangely warmer and slightly klutzier than his proper continuity counter-part - shades of Clark Kent coming into play, perhaps? The Bruce Wayne / Lois Lane relationship is also interesting and slightly touching, with the possibility for more depth than the actual D.C comics allow, showing Lois Lane not only as the Man of Steel's heart, but also, in this universe, the comfort to his tortured soul.

It's not perfect -the attempt to meld Lex Luthor and the Joker into one character is somewhat awkward (couldn't Luthor have just hired the Joker to deal with Wayne, thus including both?). And the ending is something of a cop-out - especially for those, like me, who think Batman's cooler than Superman any day of the week. And really, it could have done with being extended into a mini-series - there's so much potential for growth here that, really, one slim comic book would never cut it. A mini-series, however, would have rivalled SUPERMAN: RED SON as being a classic work.

But if you do happen to come across a copy of this, don't make the mistake my younger self made and pass up on it. Get it. You won't regret it.

More info:

Written by J.M. DeMatteis
Art by Zduardo Baretto

Publisher:

[Zacharie]

Title: Time Lincoln (Click to go to the release post)
Writer(s): Fred Perry (Click to see other books from this writer released on this site)
Review source: Matthew Meylikhov (Don't click it, read the review here... )

" Needless to say, this is my favorite new book."
Review:

It is quite often that when you go into a comic book store, there are plenty of great comic books you are over looking or just don't know about. It's a fact of life (David keeps telling me I need to read "some book" called Scalped, for example). However, often times I have a radar sense that allows for me to find a book with a #1 attached to it, and this is what led me to a book called Time Lincoln.

Needless to say, this is my favorite new book.

Click behind the jump for my thoughts.

It seems we have some odd fascination with Lincoln in our cultures these days. Not only do I get to buy Time Lincoln, but I also have the opportunity to go buy Abe Lincoln: Vampire Hunter if I wanted to. However, with my predisposition to sci-fi rather than horror, I'd take Time Lincoln over that any day of the week, and we have had but one issue.

Now, I'm not sure if this is a brand new on-going or if it's just a one-shot. If it's a one-shot, then I'm actually highly disappointed. The book was fantastic and, while I'm not crazy about the price of the book, I would considering adding this to my full time pull if given the opportunity. In reading Time Lincoln I found one of the most fun and creative titles to come out from a small time publisher, enough to help warrant my attention and unabashed love.


Time Lincoln features Joseph Stalin, powered by "the Void," traveling to the night of Lincoln's murder in order to assassinate Lincoln himself. Unfortunately for Stalin, he and his band of time traveling misfits (which include Napoleon, Castro, and Hitler) have to go up against a time traveling Lincoln and his posse made up of Einstein, Newton, George Washington Carver and Benjamin Franklin (I would've added Nikola Tesla into the roster, but that's neither here nor there). Through a mixture of steam punk-esque weaponry and absolutely hilarious concepts, Lincoln has to somehow fight against an expositional Stalin - all while frozen in time!

Fred Perry is the mastermind behind this title, both on writer and artistic duties. That's quite a lot of work for an unknown name, but if he's going to be putting work out like this I can imagine that you'll be seeing his name next to Brian Clevinger in your comic book collection. The book is an incredibly clever title that is well written and amazingly humorous throughout. In all honesty, Void Stalin? That's absolutely brilliant. And Mephitler! I love it!

Not only that, but Perry doesn't phone it in with the art. It's like Scott Wegner meets a more anime style with a touch of Mike Oeming. It's a very cool style to have, and everything looks great. A lot of the backgrounds are solid colors with shadows, but it does look great and very form fitting. Honestly, the amount of work done on character detail is so good that too many backgrounds might even take away from the great look of the characters. That and all the various team-punk weaponry and gadgets are absolutely beautiful. The page that shows Lincoln's full time traveling team is absolutely great, and for that alone I'd like to see more issues.

In the end, Time Lincoln was a fun read, and I'd definitely like to see more along the lines of this story. The opening blurb promises that you will be "solidly hooked and ready for more." I can't say I disagree with that statement.

More info:

Writing and artwork by Fred Perry

Publisher:

[Zacharie]

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

" Psychological theory in Frankenstein..."
Review:

Humanistic psychological theory states that man has an innately healthy character from birth and that psychological problems only develop as a result of the blocking of achieving one's positive potential. This idea is well-developed in Frankenstein. Everyone is quick to point out that this is a horror story. But it's also a very sad story if you consider the monster's innocent roots and what corrupted him.

The monster's own creator, Victor Frankenstein, rejected him immediately upon bringing him alive; the monster soon learned that he had to stay out of sight from everyone because all who saw him immediately rejected him, in terror. When the monster found a fire left by beggars, the warmth overcame him with delight and he thrust his hand into the fire "and quickly drew it out again, with a cry of pain" and once again something for which he has affection rejects him, leaving him in pain. The monster sufficed his own needs of food by living off what he could gather from the woods and by night he cut the much-needed firewood for an impoverished family. He did anonymous, benevolent deeds for them, planning to appear before them and plead for acceptance into the household. When he decided the time had come for his appearance, they too repulsed him, putting him on the run into forced seclusion once again. He saved a young girl drowning in a river only to be shot in fear by her father.


This characterization of the monster as a patiently caring being carries importance into later chapters when he sets out on his journey of heinous destruction. For Shelley to characterize the monster as merely innately and totally evil would not have as complete of a meaning as an innately good being turned evil by a cruel society that misunderstands him. As the monster himself contended, "My heart was susceptible of love and sympathy" and, "I was benevolent and good; misery made me a fiend. Make me happy and I shall again be virtuous." The monster's pleas to Victor make clear the theme of Humanism.

The monster, and to a lesser degree Captain Walton, show the reader the great importance of friendship and social acceptance. Lack of these is essentially the source of all the hardships of the novel. This story illustrates that being understood is vital to relationships. Because the monster is misunderstood, he is separated from society. Society's impression of him eventually becomes a self-fulfilling prophesy. This truly kind-hearted creature is gradually turned into a monster because of society's impression that he is a monster. He goes through his whole life without a single friend. That's what was so sad about this book. All the monster wanted was one friend. He tried so hard to find one, then he tried so hard to get Frankenstein to create one when that failed. You would have to be a monster yourself to not feel compassion for him despite his later murders.

More info:

Written by Martin Powell
Art by Pat Olliffe (Author)

Publisher: