The graphic novels loved by children and adults alike
Feb 1st, 2012, 6:28 pm
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Title: Fear Itself: The Fearless (Click to go to the release post)
Writer(s): Cullen Bunn (Click to see other books from this writer released on this site)
Review source: Daniel Cole (Don't click it, read the review here... ;) )

" An entertaining slice of superhero fun."

Review: Fear Itself: The Fearless #5
    This issue we finally get something from the Valkyrie side of the narrative, which is on par with the first issue of the series. Bunn, Yost and Fraction give the reader an intimate character moment that works, whilst building the pace as we rush to the series’ crescendo.

    For the first time in a while, the flashback is actually entertaining. It still has the mandatory hints of plot points that will be relevant by the end of the issue, but instead of just ramming them down the reader’s throat, they are framed within a fun and playful action scene. There is always a sense of fun when The Invaders are involved and this little prologue doesn’t disappoint. Blazing Skull and Spitfire’s tiny conversation is a highlight, as his overtly sexualized remarks don’t go down well with the speedster. It almost seems like a small trailer for an Invaders series that’ll never be made, which is a tragedy. But to refrain from turning this review into an Invaders love-in, the flashback also offers up the alluring Enchantress. A character who’s criminally underused, but is startlingly effective here. Channeling the essence of Emma Frost, The Enchantress throws out her opinions on humanity and Odin, whilst delivering some more backstory to Valkyrie. It’s a solid opening to the issue.

    The issue only gets better from there. The promised slugfest between Valkyrie and The Thing is turned on its head. What we get instead is a measured emotional moment for both the characters. The Thing’s reason for giving the hammer to Val is typically Ben Grimm. It may not be the most original character beat, but it’s delivered with conviction that reminds us why we enjoy Mr. Grimm in the first place. But it isn’t all emo declarations of the nature of guilt, as Valeria pops up to give Valkyrie’s section a bit of humor. She brings a smile as she reassures her Uncle (“I can handle daddy”) and it actually doesn’t seem out of place in the otherwise somber scene.

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    But as this is The Fearless, Valkyrie is only one aspect of this story. Crossbones and Sin continue their quest, with all violent gusto they can muster. As always Crossbones is a joy to read, self-assured in his ability to cause destruction. His assault on the raft with his grotesque new friends the D.O.A, is a solid action scene that throws in a few little things for the fans. We find out what happened to Titania after Fear itself and Marvel Vs Capcom fans will be happy as even Shuma-Gorath gets a mention. Readers of the Thunderbolts get something as well as Songbird, Mach-V and Luke Cage join the battle. Crossbones VS Cage will no doubt be something they’ll enjoy. But it’s not all about the siege of the Raft as we do get to see the sultry Sin (can someone with a red skull head be sultry?) carry on her plans in the final moments of the book. The cliff-hanger is more of a nice visual than an actual wow moment, but it does the job.

    As for the art Pelletier continues to be the consistently more engaging artist. The opening flashback showcases his talents efficiently. The Nazis sneer in the most sinister of ways, Enchantress is a graceful beauty and the action is top notch. It’s fast paced and bombastic, as the Invaders go head to head with some giant robots. Valkyrie’s intervention is gorgeously depicted as Pelletier gives her and the battle a sense of devastating weight. He even manages to make Sin seem almost regal in the final pages. With the highlight being the kiss between her and Crossbones. It is this quality that he brings to the book that makes you wish he was drawing it all.

    With that in mind it’s hard to say that Bagley isn’t needed. But even though he usually does astounding work on other books, this one is starting to look rushed like his work on DC’s weekly Trinity title. Although the scene between Thing and Valkyrie is perfectly fine, it is the dialogue that sells it and the art seems far too static. Also in light of Pelletier’s action scene, Bagley’s just doesn’t compare. It seems airy and lifeless with hollow violence punctuating the scene. Luke’s arrival panel seems off as the character seems to be floating even though his feet are planted to the ground. It’s just rushed and doesn’t stand up against the last couple of issues.

    But apart from Bagley’s contribution the book seems to be back on track. All thoughts of Valkyrie being inadequate as a character, when it comes to shouldering a starring role in a comic, have subsided. A joyous opening flashback, a somber character scene, a chaotic island siege and a villain victorious merge together to deliver an entertaining slice of superhero fun. But even with problems this book is a far cry from the problematic previous issues.

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More info:
    Script by CULLEN BUNN
    Written by MATT FRACTION, CULLEN BUNN & CHRIS YOST
    Art by MARK BAGLEY, PAUL PELLETIER,
    DANNY MIKI & ANDY LANNING
    Colors by MATTHEW WILSON / Letters by CORY PETIT

Publisher:
    Image

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Feb 1st, 2012, 6:28 pm
Feb 2nd, 2012, 7:06 pm
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Title: Zombies Christmas Carol (Click to go to the release post)
Writer(s): Jim McCann (Click to see other books from this writer released on this site)
Review source: Felicity Gustafson (Review 1) and (Review 2) (Don't click it, read the review here... ;) )

" Zombies Christmas Carol is getting better with every issue."

Review:
    Review 1 - Zombies Christmas Carol #1

      This is one of those comics you see on the shelf as you walk in and have an instant nerd reaction of, “Is it true?! Is this really an adaptation of A Christmas Carol with zombies?!” At least that’s what I did. I figured I was taking a 50/50 shot at getting a good read, depending upon if it was based on a movie adaptation or the actual book by Charles Dickens. The movies have a tendency to be family-friendly while the book has a more gothic, darker nature. Naturally, if you’re incorporating zombies, you’re going to want the latter. I’m ecstatic to report that it is based off of the book -- hooray for a good start!

      It resembles Pride and Prejudice and Zombies in that it’s a parody story with added zombies. Quite frankly, I prefer this version to the original book, but that’s just me. The addition of zombies into the story changes it rather drastically, but the main plot points are all the same. You still have Ebenezer Scrooge, who hates everyone, but whose wealth and power is needed to save Christmas… and everyone from being a midnight zombie snack. He’s visited by his business partner, Jacob Marley, and three visions that are supposed to change his mind about being a mean curmudgeon. Granted, we haven’t seen the three visitations yet, but I’m assuming they’ll be zombies as well. Instead of having poor people starving and unable to have a decent Christmas, there are people being ripped apart and eaten in the streets. I must say, though, I don’t believe I’ve ever seen a Victorian zombie with a bonnet on or an undead horse with burning red eyes, but I like it.

      I was pleased that McCann used the few narration bubbles to set the scene before bringing in the rest of the story. Trying to do all that through dialogue would have been a catastrophe. Also, the way McCann used Victorian style speech gave the whole story a more realistic aspect that was definitely appreciated. Even the lettering was in some form of Old English lettering. There was some masterful work used to incorporate the zombies into the story seamlessly without losing the feel of the original story. It’s that kind of detail that makes Zombies Christmas Carol a step above the rest.

      Baldeon’s art isn’t exactly what I expected, but that not a bad thing either. The last few zombie comics I’ve read have a tendency to be more of a scribbled nature that’s detailed in one particular area and fades going outward so that the reader’s drawn to one particular spot. This artwork is more what you’d expect from, well, a Marvel comic. It’s all clear-cut lines and detailed backgrounds with a vibrant use of color. Which, like I said, isn’t bad. In fact, it’s nice to have a zombie comic that’s a little different -- it keeps readers hooked because they’re not sure what to expect next. Which is not to say Baldeon lacks gothic style in his art -- his stone cold depiction of the long faced Scrooge was absolutely perfect down to the hooked nose and sunken in eyes. Even his hooked eyebrows glared at you off the page. Also, the drawings of the zombies were spot-on, down to the hairstyles. I especially enjoyed how Jacob Marley, even as a zombie, gave off a plaintive aura. I can imagine it’d probably be hard to draw empathy to a character that’s rotting and in chains, but poor Zombie Marley gets my vote.

      Overall, I was happy I bought the comic. I’m not a huge Marvel fan, but the combination of the detailed artwork, the dark tone of the story and, well, the zombies made this comic a pleasure to read. It has a lot of potential to be a truly great series, but it’s a little early to tell. From what I’ve seen so far, I’m going to continue reading for sure.
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    Review 2 - Zombies Christmas Carol #2

      Zombie horse!!!

      Ahem, now that I have your attention, I’m pleased to report that Zombies Christmas Carol is getting better with every issue -- and yes, there really is a zombie horse in this one. It’s rare to find a good zombie read these days when shelves are chock full with every kind of undead rubbish you can think of. Luckily I took a chance with this series because it’s turned into quite the gem.

      Following the Charles Dickens storyline, this installment revolves around Scrooge’s visit by the Ghost of Christmas Past that presented not only Scrooge’s past, but who started the zombie plague -- or rather, what started the plague. I wasn’t overjoyed at the depiction of how it began spreading. It just seemed a little farfetched to me. Normally, a zombie outbreak with result from two things, a virus or necromancy and Zombies Christmas Carol doesn’t really state which, though it leans towards virus for sure. It doesn’t give the origins of the virus, just that an animal started it. I was a little disappointed in not learning where the virus came from, but McCann looks like he’ll string us along to keep us interested and hopefully give an answer sometime in the next few issues. I suspect the next two will be about the present and future ghosts and then there’ll be a final issue to tie it all together.

      This series is an interesting blend of dark storyline and bright artwork. For instance, there can be zombie munching on some brains in the middle of a cobblestone street, but the art still retains use of a vibrant color scheme. Though this issue is a little darker than the last, it mostly takes place either at night in a darkened room or in a dungeon. The few scenes showing Scrooge’s past are very colorful, lending a cheer to the pages only to wither to darkness when the harsh reality sets in. Treece's artwork is absolutely magnificent on the Ghost of Christmas Past. The eye-popping amount of detail inspires a sense of dread. The entire time she visits Scrooge, she has a kind of veil over her face. The shading allows the audience to see through the flimsy material, but only just. Contours of her face and eye sockets can be seen, but not enough to get a true picture until near the end when her identity is revealed. Whoever decided to do a Hel -- Norse goddess who presided over, you guessed it, Hell -- type appearance was brilliant. The Ghost’s face was basically done in two halves. The right half is still mostly whole, albeit dead, while the left half is rotten, with muscle sinew shown and her eye missing, leaving only a blank socket to stare into. Imagine a female Two-Face, but without one eye and in a Victorian dress.

      Overall, this second issue was much better than the first. Now we’re starting to get into the meat of the story and I’m pleased with how McCann’s blended the zombie story with Charles Dickens’ original, making it a believable, fun read. At first I was uncertain if this was going to turn out to be a good series, but this issue has solidified my belief in a positive way. Zombies Christmas Carol has the perfect team to create a truly spectacular read.


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More info:
    Writer: Jim McCann, Charles Dickens
    Penciller: David Baldeon & Jeremy Treece, Jordi Tarragona
    Inker: Roger Bonet

Publisher:
    Image

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Feb 2nd, 2012, 7:06 pm
Feb 19th, 2012, 7:44 am
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Title: DC Focus: Hard Time (Click to go to the release post)
Writer(s): Steve Gerber (Click to see other books from this writer released on this site)
Review source: RJ Buck (Don't click it, read the review here... ;) )

" Hard Time enjoins us to remember the horror ..."

Review: Hard Time: 50 to Life
    Filled with Real Horror -- and Real Insight...

    Brutal, bleak, despairing, filled with real horror ... these words come to mind as I survey this `comic' book about an innocent 15 year old boy's life sentence in the grimmest of penal institutions. Other images also come to mind. For here is a searing indictment of contemporary `justice' and the prison system. Here is acute commentary on themes such as religious fundamentalism, ethnic hatred, social stratification, among other elements of contemporary society. Here too, is compassion for the oppressed. And here also, for a comic book, is an amazing amount of vivid characterisation and acute understanding of human psychology. In the world of the American comic book, this is another masterpiece by Steve Gerber, author of Howard the Duck and Nevada (which I've also reviewed). Brian Hurtt's artistry also effectively and beautifully illustrates Gerber's vision.

    Still, be warned - the vision here is very, very dark. In the prison milieu Gerber creates is a portrait - stunningly realised - of one particular kind of microcosmic human `community' among the millions of different kinds of human communities that constitute our world in toto. There are indeed many, many worlds within the World. There are worlds like that of Hard Time, especially deprived of the ozone of love and hope. Such worlds of human activity exist in abundance, in the prisons, in the mafia, in cults of evil... It is salutary never to forget this. And Gerber's penetrating writing can serve to awaken our hearts to the fact of this matter.

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    On the other hand, it is also salutary to have hope. Though human beings are deeply dysfunctional and broken everywhere -in more traditional language `fallen' - there are also countless communities in the world, in which there is far, far more aspiration to the firmament. That is to say, as Oscar Wilde said, `We are all in the gutter, but some of us are looking at the stars'. Some communities, be they loving families, religious houses, idealistic societies and so on, are still in the gutter, but possess amazing depths of commitment towards reaching for the stars of hope and charity, and integrating them in daily life.

    I am sorry to say, I am sorry to say indeed that Steve Gerber, who emerges as a very human, very flesh and blood figure with real tenderness of feeling beneath layers of cynicism, this same Steve Gerber seems to have lost sight of human communities oriented to the stars, seems to be caught by worlds of loveless despair ... and writes - brilliantly - according to what he sees.

    But there are other worlds out there. There are other worlds out there. Still for those of us fortunate enough to encounter worlds committed to the stars, while ever in the gutter, Hard Time can have a most salutary effect. It can serve to remind us never to be complacent, but to remember the horror that prevails - to greater and lesser degrees - everywhere. Hard Time enjoins us to remember the horror ... and thus the need for Ora et Labora.


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More info:
    Brian Haberlin colorist
    Steve Gerber, Mary Skrenes writer
    Tomer Hanuka cover
    Brian Hurtt artist, penciler, cover
    Lee Loughridge colorist
    Pat Brosseau letterer
    Steve Bird inker
    Rachel Gluckstern, Joan Hilty editor

Publisher:
    Image

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Feb 19th, 2012, 7:44 am
Feb 19th, 2012, 10:44 am
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Title: Anne Rice’s The Tale of the Body Thief (Click to go to the release post)
Writer(s): Faye Perozich (Click to see other books from this writer released on this site)
Review source: Tommy Sweeny (Review 1) and Win Wiacek (Review 2) (Don't click it, read the review here... ;) )

" This is something you can live a long time – if not forever – without."

Review 1:
    Being a life-long (or so it seems) Anne Rice fan, I recently went on an internet quest to find every book she's written that's been turned into a graphic novel or comic book series. The Vampire Lestat and Queen of the Damned were excellent in graphic novel form, due to the artwork and the general action of the plots. The artwork for Body Thief isn't quite as well executed, I don't think, as the other two, but by no means is it bad. Also, if you've read Body Thief, you know although there is plenty of action in the book (especially after the "boys" make it to the QEII), the graphic novel is a very abridged version of the action (and some important plot points). Still though, the graphic novel (which is much shorter also than The Vampire Lestat) is a worthy prize for any fan of the amazing Anne Rice. 4 out of 5 (actually, I'd give it a 4 and a half if that were possible).


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Review 2
    For awhile Anne Rice’s Vampire Lestat tales were a graphic novel phenomenon, but nearly a decade later do those adaptations stand up on their own?

    This somewhat plain and predictable package would rather suggest that they don’t, although that might just be due to the lackluster original plot as much as the rushed and flimsy art and dialogue.

    Lestat has apparently long harboured the desire to be human again and feel the sun on his face, so when a psychic bandit offers to trade bodies with him for a week or so he ignores common sense and the advice of his few true friends and gets played for an altogether different sort of sucker. Then it’s simply a brief hunt to find his body and get back into it to pad out this remarkably tension-free horror-less drama.

    The art too is weak and insubstantial despite the presence of the excellent Daerick Gross as part of the team. I’m not sure what Rice fans made of this book but it’s certainly a big disappointment in terms of graphic narrative. Unless you’re desperate this is something you can live a long time – if not forever – without.

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More info:
    Anne Rice story
    Faye Perozich adaptation
    Travis Moore pencils
    Michael Halbleib inks
    Daerick Gross art, cover

Publisher:
    Image

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Feb 19th, 2012, 10:44 am
Feb 19th, 2012, 6:21 pm
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Title: A House in Venice (Click to go to the release post)
Writer(s): Giovanni Mattioli (Click to see other books from this writer released on this site)
Review source: Tenmanga (Review 1) and Kotani Yumiko (Review 2) (Don't click it, read the review here... ;) )

" Rich of suggestions and images, with a passional storytelling..."

Review 1:
    An art college students moves in Venice to study, she starts to live in her new room, part of an old huge historical mansion and she discovers a new world of secrets linked to her young, mysterious landlord. A gothic romance story and a vampire tale which flows around Venetian laguna and roman museums; a manga rich of suggestions and images with a passional storytelling, a deep noir drawing style and melancholic mood. From Italians to Japanese.
    This was created for Kodansha, published on Amie. You read it Japanese style.

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Review 2:
    A House in Venice or Una casa a Venezia is a one shot mystery manga by Italian artists Giovanni Mattioli and Vanna Vinci. Published by Kodansha this manga is read left to right like traditional Japanese. Taking place in the magical city of Venice(as the title says) the story is about a young art student Rosa who rents a room in an old mansion. She meets her handsome, mysterious, landlord Lorenzo and learns his dark secrets.

    A lush manga with Gothic-style art and a gloomy mood. I was hooked to it from the first page. I love Rose and Lorenzo very much. I wish a man like Lorenzo existed in my life...I kind of knew that he was a vampire of something like that from the start since Rosa saw a coffin when she was exploring the new garden, also because when she does meet Lorenzo he later mentions that sunlight bothers him(cliche I know!).
    I actually hate most vampire manga including Vampire Knight, I started to hate vampires since Twilight came out people became fanatic over it. Then a weeks ago I read this manga and now theyre not so bad anymore. I LOVE Lorenzo, I am going to find an Italian boyfriend like him one day~Anyway I give this manga 10 out of 10 rating. Vampire fans, Gothic story lovers alike should read it. I hope the artists keep drawing more manga too because I want to read!

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More info:
    Giovanni Mattioli writer
    Vanna Vinci artist
    Published by Kappa Edizioni (Italian publisher), Kodansha, 2006.

Publisher:
    Image

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Feb 19th, 2012, 6:21 pm
Feb 19th, 2012, 8:31 pm
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Title: The Story of a Mother (Click to go to the release post)
Writer(s): Peter Madsen (Click to see other books from this writer released on this site)
Review source: lakrids (Don't click it, read the review here... ;) )

" A mythic, emotional, internal journey."

Review:
    Wow, that's stunning.

    There are some pitfalls in adapting a fable or fairy-tale to a sequential visual medium--if you want to convey the mythic quality, you need to keep the images from being either too concrete and literal or too vague to tell a story--but this has a good balance. It's good sequential art, not just supportive illustration, but the gorgeous, intermittent, textless full-page images give it that sense of hugeness, the universality of these emotions, and the vast depth of them, and the abstractness of the actual events--this is the embodiment of the idea of pure, perfect motherhood, this is the embodiment of death, this, the embodiment of elements of nature. There's detail and nuance where the style needs it, but each sequence is visually distinct and disconnected from the others, not grounded in the same physical landscape, because this is not a physical journey--it's a mythic, emotional, internal journey.

    I think my favorite image here is the garden of Death, where she's this little figure in the huge garden, cringing in the shadow of Death. What is that light that halos around him, by which Death casts a shadow? It is by far the best image of Death in the whole thing, because not only can't we see the face of Death, we can't even see his figure properly, just the way that he changes the landscape, with the shadow--just the terrifying idea of it. The garden of flowers, the unknown light, the approaching shadow: it's a mystery. A compelling, transcendent mystery.

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More info:
    Hans Christian Andersen story
    Peter Madsen art, write.
    Ole Lindegrad Henriksen Translatation

Publisher:
    Image

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Feb 19th, 2012, 8:31 pm
Feb 21st, 2012, 10:51 pm
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Title: Barnum!: In Secret Service to the USA (Click to go to the release post)
Writer(s): Howard Chaykin and David Tischman (Click to see other books from this writer released on this site)
Review source: June (Review 1) and Patrick J. Clark (Review 2) (Don't click it, read the review here... ;) )

" I was left with a feeling that I could have spent my money better elsewhere... "

Review 1:
    Who knew that amid the bearded lady, the wolf boy and the human fly at Barnum and Bailey's circus, there was also a secret agent? After P.T. Barnum saves President Grover Cleveland's life, he becomes the president's newest agent to help thwart an attempt to destroy the Union. Aided by Span the human fly, diminutive powerhouse Colonel Dyna-Mite, Hypnosia the mesmerist, Plastino the rubber man, Primeva the animal mistress and Siamese twins Chang and Eng, Barnum hopes to defeat the evil Nikola Tesla. The traveling sideshow may be America's last hope. Barnum's set-up is the perfect guise to gather information from across the United States and keep tabs on Tesla and his diabolical plans. Circus folk are often depicted as criminals and other undesirables, but in this tale writers Chaykin and Tischman delightfully turn the tables and put the freaks on the same side as the law where they can use their skills of deception and illusion to gain information against Tesla. Also fitting are the illustrations, akin to old Civil War posters or hand-drawn pictures. Henrichon fills each page with a classic art style that is a nod to history. Whereas Chaykin and Tischman have an ear for 19th-century dialogue, Henrichon has a hand in believable renderings of not just the characters, but their dress and environment. This handsome edition will delight enthusiasts of the circus, comics or American history.

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Review 2
    Howard Chaykin was an interesting writer in the 80s when he wrote the American Flagg! series, so I had high hopes for Barnum!: In Secret Service to the USA--it suggests an experience akin to League of Extraordinary Gentlemen, though glossed with early 20th century Americana. That the protagonist is American's #1 carny, P. T. Barnum, sealed the deal for me: Espionage, nostalgia, adventure, quirkiness, and a well-heeled writer at the helm. In sum, the story should write itself, and it should be a good one, clever and engaging.

    However, I was disappointed that the plot provided poor development and relied heavily on deus ex machina rather than real bravado, deep characterization or clever writing. Much of the story seemed cheesy and hackneyed to me, relying on cheap jokes, pithy, uninteresting dialogue and "surprise! we're not who we say we are!"-type plot twists. Even the Barnum character was not engaging, Chaykin relying, it seems to me, on the mystique engendered by circus personnel in the American consciousness to write the book for him, rather than diving in and getting to the heart of his heroes. Little of this story made sense (and it *should* make sense; anyone can write nonsensica, meanderingl plots), and overall I was left with a feeling that I could have spent my money better elsewhere, or that a much better story could have been made of all this. As for the art, it was passable, but I was unimpressed.

    If your sense of history is lacking or your taste in comics isn't refined--or you're under the age of, let's say, 20--this book might meet your needs, but it's not really intended for adults who have a smattering of taste or who've experience comics that are much better. It's a poor man's LXG--and, as to that, if I were a poor man, I would probably save my money rather than throw it away on the plodding narrative of Barnum!: In Secret Service to the USA. It's too late for me, but you can save yourselves the time and money by taking a pass on this one.

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More info:
    David Tischman, Howard Chaykin writer
    John Costanza letterer
    Lee Loughridge colorist
    Niko Henrichon artist, cover

Publisher:
    Image

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Feb 21st, 2012, 10:51 pm
Feb 22nd, 2012, 11:32 am
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Title: The Five Fists of Science (Click to go to the release post)
Writer(s): Matt Fraction (Click to see other books from this writer released on this site)
Review source: Stuart Carter (Don't click it, read the review here... ;) )

" Five Fists is fabulous science-fictional fun, has some strong likable characters, and has a wicked sense of humor."

Review:
    Steampunk Victoriana (or rather Edwardiana since, although no proper date is given, Five Fists Of Science is almost certainly set in the 20th century) seems to hold an endless fascination for writers, and not least comics writers. We’ve had Alan Moore’s The League of Extraordinary Gentlemen, Ian Edginton’s Scarlet Traces, Grant Morrison’s Sebastian O and Bryan Talbot’s Luther Arkwright series, to name just a few off the top of my head. And now we have Matt Fraction’s hugely enjoyable ‘blockbuster’, The Five Fists Of Science, which in a very similar vein purports to show us just what Nikola Tesla was really up to with his mischievous writer pal Samuel Clemens, the lovely Baroness Bertha Von Suttner and, er, a young chap called Tim. I assume the aforementioned fifth fist is Tesla’s big invention (it turns out that ex-pat Serbian inventors had a thing about giant battle robots absolutely ages before the Japanese ever did). And it’s worth noting that this is the first piece of US-based comic book steampunk — all the others are by British writers. Is the perceived transatlantic experience of the 19th and early 20th century entirely less hubristic or is there another explanation? Answers on a zeppelin, please.

    The Five Fists Of Science is not a complicated book. It could be made into a Hollywood summer blockbuster with an absolute minimum of changes. The main difference between The Five Fists Of Science: The Movie and, say, Star Wars Episode III, would be that Five Fists is fabulous science-fictional fun, has some strong likable characters, and has a wicked sense of humor. Honestly. Not only is there some great dialogue here, but there’s also some equally great observational humor brilliantly portrayed by artist Steven Sanders. Hell, I’ll go even further and say that most of it is not even geek humor (e.g. referencing the ‘hilarious’ Batman continuity error from Batman, issue 25); it is humor that anyone who thinks Steve Martin hasn’t been funny in decades should get.

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    And the story? Well, it’s some nonsense about Nikola Tesla inventing giant robots, and an achingly idealistic plan by Clemens to use them to end war with the help of friend-of-the-rich-and-famous, Baroness Suttner, and Tesla’s friend, Tim. It’s a fine plan, and they would’ve gotten away with it too, if it hadn’t been for that meddling opposing team of contemporary luminaries that included Edison, Marconi, J.P. Morgan and Andrew Carnegie.

    To say that liberties have been taken with historical truth in Five Fists would be to underestimate Matt Fraction’s chutzpah. Let it suffice for me to offer a warning to younger readers out there: if you use The Five Fists Of Science as a study aid for any kind of important, official examination you will fail that important, official examination. Five Fists plays fast and loose with the truth and is all the better for that. Fraction has an ear for snappy, alternating dialogue that compares favorably with Brian Michael Bendis or Warren Ellis. He is more than capably assisted in the art department by Steven Sanders who does smooth, clear work and has a real flair for comic (and comic book) pacing.

    If I say that Five Fists often reminded me of Ghostbusters (not least the ending) then I think that should give you an excellent idea where this book is coming from and whether or not it’s for you. Clemens makes an excellent replacement for Bill Murray’s Venkman, and Tesla could almost be Spengler’s (the brainy one’s) great-grandfather; not to mention the fact that the scientific explanation in both is on about the same level!

    It’s a nice new twist on the well-trodden UK idea of steampunk, with fewer dandies and more action! I urge you all to "Retreat before the clenched fists of science!"


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More info:
    Matt Fraction writer
    Sean Konot letterer
    Steven Sanders penciler, inker, cover

Publisher:
    Image

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Feb 22nd, 2012, 11:32 am
Feb 22nd, 2012, 6:10 pm
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Title: Mystique (Click to go to the release post)
Writer(s): Brian K. Vaughan (Click to see other books from this writer released on this site)
Review source: JPRoscoe (Don't click it, read the review here... ;) )

" If you didn’t pick up Mystique when it was out, check it out now."

Review:
    Mystique has been captured and turned over to Charles Xavier with the option of working for him or going to jail. Now Mystique has become an agent of Xavier and assigned to jobs that the X-Men can’t get caught doing. She and her co-operative Short Pack are going all over the world on assignments involving mutants, and Mystique finds herself rekindling her relationship with Forge. Mystique however has other options open to her. A rival group has contacted her through an agent called Shepard who offer Mystique a role as a double agent.

    Written by Brian K. Vaughan (who was just gaining popularity as the author of Y: The Last Man) and art by Jorge Lucas, Michael Ryan, and Manuel Garcia with many issues having fun cheesecake covers by Mike Meyhew, Mystique was met with great reviews and brought the popular guest character into a well-rounded series star.

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    Mystique launched with a bunch of other X-titles but managed to distinguish itself with its smart writing. The plots aren’t all that groundbreaking (they mostly involve a bit of spy-tech, romance, and gunfire), but Vaughan does a great job really exploring Mystique shapeshifting powers. Whether having her hide guns inside of her body, grow extra arms and heads, or even using a men’s restroom, Mystique’s powers are pushed to the limit.

    The art for Mystique is also quite good. I prefer Jorge Lucas art to the other artists but all the art is great. Even Meyhew’s photo-realistic painted covers work for the series and harken back to the pin-up art of Alberto Vargas. They are cheesy but fun.

    Mystique was a fun series, and it is too bad that Vaughan didn’t stick with it. After this collection, Sean McKeaver wrote the series until issue #24 when it ended. McKeaver’s run isn’t all bad, but it doesn’t live up to the ground forged by Brian K. Vaughan in this collection (in spite of the clunky title). If you didn’t pick up Mystique when it was out, check it out now.

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More info:
    Writer: Brian K. Vaughan
    Penciller: Manuel Garcia, Michael Ryan, Jorge Lucas
    Penciller (cover): Mike Mayhew
    Editor: Jeff Youngquist

Publisher:
    Image

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Feb 22nd, 2012, 6:10 pm
Feb 23rd, 2012, 1:51 pm
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Title: The Last One (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: Don MacPherson (Don't click it, read the review here... ;) )

" DeMatteis leaves it open to the reader to interpret..."

Review:
    Boom! Studios is joining the ranks of such publishers as Fantagraphics, IDW Publishing and Image Comics by collecting out-of-print, creator-owned work that deserves to find a new audience in the 21st century. The Last One was a six-part series published under DC’s Vertigo imprint in 1993. Readers of more unusual modern comics fare might find The Last One a little reminiscent of Peter David’s Fallen Angel, but really, its parentage is pretty clear. On the one hand, it’s clearly writer J.M. DeMatteis’s baby; the writer has demonstrated a penchant for writing surreal stories of spirituality and the supernatural. DeMatteis is the father, and Vertigo founder and editor Karen Berger is the mother, as this book boasts some of the same genetic material as the imprint’s original flagship title, Sandman. In any case, The Last One is a mature, thoughtful book full of smaller stories that make up the larger one of a divine being’s slow journey towards realization and fulfillment.

    Before existence itself, there were the Old Ones, but as the world was created and the New Ones, AKA mankind, arose and gave birth to God, and the Old Ones faded away. But one of them remained and walked the earth eternally. He, or she, is Myrwann, and today, Myrwann takes lost souls into his/her home in New York City. S/he nurses them back to physical and spiritual health, often by telling them stories about his past lives. As the guests heal and grow, though, Myrwann him/herself has been weakening, searching for the kinds of elusive answers he’s tried to offer to so many over the years.

    Scattered throughout the book are framing pages set in the time before the world was the world, basically, and for those segments, artist Dan Sweetman adopts a style reminiscent of Kent (Blood: A Tale) Williams’s paintings and linework. The rest of his efforts on the book remind me a bit of Mike (Sandman) Dringenberg’s loose style, or that of Paul Johnson (who worked with Gaiman on a chapter of the first Books of Magic series). Sweetman’s design for Myrwann evokes memories of Marlon Brando late in life — large, lumbering, slowly falling apart. The ragged, skewed gutters are in keeping with the downtrodden lives of the characters, but they also reinforce the surreal elements of the story as well. Some might view Sweetman’s work here as somewhat crude, but it captures the mood DeMatteis is striving to establish. Furthermore, Sweetman adapts his style to suit the various flashback stories that Myrwann tells throughout the book. At times, his stuff might remind one of Michael Zulli’s style or perhaps Frazer Irving’s.

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    The back cover of this new collected edition describes Myrwann as “the sole survivor of an ancient race of immortals.” I don’t find it’s an apt description. Early on, s/he’s clearly meant to be seen as an angel living among mankind. Later on, Myrwann seems more like s/he may be God him/herself, lost and without a clear purpose in the wake of creating all that is or will be. DeMatteis leaves it open to the reader to interpret, though truly, we’re meant to see ourselves in Myrwann and his human guests.

    I was struck by the following line from the penultimate chapter of the book: “I told them I was no saint. I was just a seeker, like them.” I was immediately reminded of another DeMatteis-penned Vertigo title: Seekers: Into the Mystery. Boom! Studios offers up a Seekers collection this week as well, and it explores similar themes and moods as The Last One. Personal journeys of self-discovery and explorations of one’s spiritual self are common themes in DeMatteis’s work, especially when it comes to his creator-owned work. When it comes to books like The Last One, Seekers and Moonshadow, I wonder if they’re all pieces of a larger tapestry.

    The Last One seems to share a lot of elements in common with Neil Gaiman’s Sandman. Both stories are about a timeless god-like being and keeper of stories who’s in the process of attaining personal enlightenment regarding his own immortality. Both feature stories within stories prominently. Myrwann’s house and guests are reminiscent of the rooming house that Rose and Fiddler’s Green called home in Sandman: The Doll’s House. DeMatteis and Gaiman offer similar interpretations of angels and pre-Creation history. Todd Klein brings his unique touch to the lettering for both titles. There are many more comparisons I could draw. I’m not suggesting that DeMatteis mimicked Gaiman’s popular work. It stands to reason that the success of Sandman would have an influence on other books in the Vertigo line. Now The Last One is published beyond that context, and it holds up quite well. Sandman fans will enjoy The Last One, but one needn’t be familiar with Gaiman’s opus to enjoy this book.


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More info:
    Writer: J.M. DeMatteis
    Artist/Cover artist: Dan Sweetman
    Letters: Todd Klein
    Editor: Karen Berger

Publisher:
    Image

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Feb 23rd, 2012, 1:51 pm
Feb 23rd, 2012, 11:20 pm
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Title: Fight for Tomorrow (Click to go to the release post)
Writer(s): Brian Wood (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 think anyone who picks it up will enjoy it."

Review:
    Fight for Tomorrow by Brian Wood, Denys Cowan, and Kent Williams is a six-issue mini published by Vertigo back at the end of 2002 and, then, reprinted five years later in trade form. The plot revolves around Cedric, a young man who was kidnapped as a child and raised in a camp that trains kids to fight, so that bets can be placed on said fights. He eventually escaped with Christy, a girl from the camp that he grew up with. The story begins with Christy having left him a month or so back, and Cedric unable to get past that. He enters an underground fight and thinks he sees her there. It turns out that she’s now with Sivan, the man who runs the underground fights and was Ced’s bully while growing up. Sivan was the son of the man who ran the camps and liked to pick on Cedric, so seeing Christy with him… well, it hurts Ced. Throw in another girl, her little brother, and the righteous cause of liberating other children currently being held by the same group and you’ve got a pretty solid story.

    I hadn’t read this since first buying it when it came out. I think I actually got the series after it all came out — or, at least, after three or four issues had come out. It didn’t wow me, but I enjoyed it. I didn’t think it really carried six issues and was a bit too meandering, a bit too steeped in itself. Brian Wood was still in his early days of writing and not entirely comfortable yet. The art by Denys Cowan and Kent Williams is fantastic. I’m not as familiar with Cowan’s work elsewhere as I’d like to be, but it’s obvious that Williams’s inking really shapes the look of the art. It’s loose and sketchy, unafraid to depict things as ugly and condusive to movement. The fight scenes are brutal and quick. The characters don’t look attractive. The art carries the book a bit at times.

    I’m not sure I have a lot to say about Fight for Tomorrow. There are a few things that jump out at me. The first being that I mostly identify with Cedric when he agonises over Christy — and her newfound relationship with Sivan. I don’t know if this is a guy thing, but the idea that the woman you love will not just reject you but will then choose the guy you hate more than anyone else is very unnerving. I’m sure many of us geeky types experienced this when younger, that popular girl you had a crush on choosing some popular guy who treated you like shit (I didn’t, but no one really treated me like shit in high school, but I totally get that idea). Do women have that same hang-up, because I’ve only really seen it expressed in male characters? That unique gut-wrenching feeling of some asshole with the object of your affection. And I use the word ‘object’ very purposefully since the feeling does stem from a sense of ownership. Is that sense of ownership why women don’t fall prey to this hang-up? Is it the natural male competitiveness? To bring it to comic book terms: “Sins Past” in Amazing Spider-Man — how many fans were pissed because Gwen had another man’s kids or because she had Norman Osborn, Peter’s msot hated enemy’s kids? It’s an ‘anyone but him!’ feeling that is only partly about the woman. And there are varying degrees of this situation depending on how close the guy and girl are, how much she’s aware of the guy’s hatred of the other guy, etc.

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    In Fight for Tomorrow, Christy seemingly betrays Cedric in the worst way possible, because she was already romantically involved with him and then leaves him, quite possibly, to be with Sivan, who she knows is the man Ced hates more than anyone else. It’s a harsh situation, but reading it really made me question my feelings on the matter, and why it bothered me so much that she would do this. I’ve never really experienced this situation and yet the idea of it freaks me out. Talk about messed up insecurities… Wood dwells on this throughout and does so with skill, first making you sympathise with Ced and, by the end, disliking him for his obsession. It ends with Christy laying it out for him, about how she left because they don’t work, how they’ll always remind each other of their childhoods, and how the thing with Sivan was unrelated to him… and not exactly voluntary. Cedric, so obsessed with her and the idea of revenge, doesn’t notice what he’s got around him. The switch is done with a lot of skill — and raises that fantastic question from High Fidelity: why do you want her back? What’s so great about this girl? The funny thing is, for many of us geeks in high school with the crush on the girl that will never go out with us, there isn’t anything that great about her. If we actually got a chance with her, we’d probably realise that there isn’t much there beyond a very superficial attraction (Freaks and Geeks dealt with this concept perfectly). That isn’t the case with Christy, on the surface, but, when you think about it, it applies to her almost equally as well. While Cedric and Christy have tons in common, it’s not shared interests or desires, it’s shared experiences, ones that made them rely on each other and grow closer, but also misled them about their feelings. That doesn’t mean they wouldn’t work or aren’t truly in love, but they’ve experienced so little without the other that it’s impossible to say if what they have is really love or if it’s just the default setting of their lives. Christy, mature enough to know all this, leaves and this story is about Cedric never coming to that conclusion until it’s spelled out for him.

    Fight for Tomorrow is also a meditation on violence, but I’m not sure anything beyond the standard concepts is dealt with here. Cedric is torn between his Buddhism and his life of violence. The only scene that really stands out is, at one point, Cedric deals with his frustrations by working out with a punching bag, and comments that no matter how hard he tries to meditate and clear his mind that way, violence is the only thing that does it. This hints at the inner nature of Cedric, who we assume is violent only because of his upbringing, but maybe he’s not. Maybe he has natural leanings in that direction that his childhood simply augmented. He is a brilliant fighter, which suggests something beyond training and more like natural talent/desire. That subtle suggestion is probably the only interesting thing about violence here.

    Fight for Tomorrow is a very solid read, but a lesser Brian Wood work. There’s a reason that it doesn’t jump out at many when discussing his body of work. That said, I think anyone who picks it up will enjoy it.

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More info:
    Brian Wood writer
    Denys Cowan artist
    Jim Lee cover
    Kent Williams colorist

Publisher:
    Image

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Feb 23rd, 2012, 11:20 pm
Feb 24th, 2012, 2:39 pm
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Title: Captain America 65th Anniversary Special (Click to go to the release post)
Writer(s): Ed Brubaker (Click to see other books from this writer released on this site)
Review source: Dana Place (Review 1) and Andrea Speed (Review 2) (Don't click it, read the review here... ;) )

" Definitely one you have to pick up this week. "

Review1:
    Plot: Captain America and his sidekick Bucky are planted into Germany to help the embedded resistance take down a German garrison. They find out that the Red Skull is there searching for a 500 year old legend that could help turn the tide in favor of the Nazis.

    Review: I am totally digging Ed Brubaker’s run on Daredevil and having Ed Brubaker write this one shot 65th anniversary issue is a masterstroke. I think that Marvel may have hit a home run bringing him on the payroll. This issue is a back story that brings together Captain America, his greatest nemesis, Red Skull, and an evil baron that makes a nice cliffhanger end to the comic. I can’t speak more highly of Ed Brubaker’s work so far with Marvel and this issue is definitely one you have to pick up this week.

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Review 2
    This is a flashback issue, of course, although there’s an end “epilogue” that brings it into the present day, dealing with a present day storyline. But mainly it’s just a slightly retro WWII adventure involving a younger (pre eye patch) Nick Fury and his “Howling Commandos” (the Human ones, not the monsters), evil Nazis and brave freedom fighters, the evil Red Skull and a “secret weapon” that’s straight out of many pulp adventures of the era. In other words, it’s pretty fun.

    Of course Brubaker has made Bucky slightly more lethal, and that’s reflected in the story, but he’s still only Human, and still just a boy, which is reflected in his chaste flirtation with a pretty freedom fighter. That’s a bit of a cliché, but so is the mad villain and the castle with the sinister secret, but this is clearly a homage to those WWII Cap stories, and while Bucky is tougher (and Fury is an absolute nightmare), there is a curious innocence about the story all the same.

    The art has something of a classic comic look to it, which follows the air of the homage, but I must admit I missed the more realistic art of the current Captain America run. In fact we do get it in the epilogue, and the artistic contrast is almost jarring - the difference between the slightly cartoonish, bright art of the past, and the more smooth, darker art of the present day. Although all the artists’ do a solid job, I think Pulido captures the classic style in a much cleaner, more solid way, and of course I loved Perkins’ art. Rodriguez’s colors pop off the page.

    If you’re one of those people who always wondered what it would be like if Brubaker wrote a World War Two adventure with Cap, here’s the answer to your question. And while I was surprised that it wasn’t quite what I imagined, it’s still quite good.

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More info:
    Ed Brubaker story
    Eric Wight penciller, cover
    Dave Lanphear letterer
    Frank D'Armata, Javier Pulido, Marcos Martin, Mike Perkins artist
    Javier Rodriguez colorist
    Tom Brevoort editor

Publisher:
    Image

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Feb 24th, 2012, 2:39 pm
Feb 24th, 2012, 11:28 pm
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Title: Song of Saya (Click to go to the release post)
Writer(s): Daniel Liatowitsch and Todd Ocvirk (Click to see other books from this writer released on this site)
Review source: Carl Doherty (Don't click it, read the review here... ;) )

" This intriguing new series stands up well enough on its own."

Review: Song of Saya #1
    A young doctor’s promise is cut short when a car accident kills his parents and leaves him in need of experimental brain surgery. Josh finds his perceptions warping from between our established reality and a hellish landscape of organic, haemorrhaging structures and hideous physiognomies. Now confined to the hospital he once worked in, Josh is frequently visited by a beautiful woman named Saya, who claims to be looking for her father.

    IDW’s new Lovecraftian horror series is based on Japanese video game/interactive novel Saya no Uta, transporting the premise to America. I wasn’t at all aware of this while reading Saya; supposedly writers Daniel Liatowitsch and Todd Ocvirk made several amendments that would sit better with Western readers when they translated the plot. The script itself feels surprisingly intimate, and is a notch above any of the more recent, recognisable videogame to comic adaptations.

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    Yair Herrera’s hazy digital paintings work perfectly for this title, adding an ethereal ambience to Joshua’s recollections. The unsettling visions – think buckets of blood and skinless abominations – which Josh experiences are also handled exceptionally, and are brief enough to prove genuinely chilling.

    Anyone who’s seen Jacob’s Ladder may find themselves in all too familiar territory, but Song of Saya’s first issue is an atmospheric and memorable enough read. If you haven’t heard of the video game, don’t let that deter you – this intriguing new series stands up well enough on its own.


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More info:
    Writers: Daniel Liatowitsch, Todd Ocvirk
    Art: Yair Herrera

Publisher:
    Image

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Feb 24th, 2012, 11:28 pm
Feb 25th, 2012, 6:40 am
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Title: Batman Orphans (Click to go to the release post)
Writer(s): Eddie Berganza (Click to see other books from this writer released on this site)
Review source: Walter Richardson (Don't click it, read the review here... ;) )

" This isn't a bad comic. This is an atrocious comic."

Review: Batman: Orphans #1
    Robin's been found dead! And that's not an easy thing to face – especially when you're Tim Drake! In this pre-RED ROBIN tale, Tim and Batman must solve the murder of an impostor Robin and follow the trail of someone putting together a new team of teenaged sidekicks made up of kids who've been promised that they'll become the new Robin…IF they survive!

    Eddie Berganza was recently promoted to the role of Executive Editor of the DC Universe, so I figured why not check out the new two-part series from him? Follow the cut to see what I thought of this extra-large issue.

    When I finished Wolverine: The Best There Is, I thought "there is no possible way anything else coming out this month (or even this year) could be as bad as this, much less this same week." I was wrong. So very, very wrong. I try not to exaggerate in my reviews, so I mean it wholeheartedly when I say Batman: Orphans may be the single worst comic I have ever read.

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    I really don't know how to put the lack of quality of this comic into words. The story itself is a mess, everyone was terribly out of character, the dialogue was an absolute disaster, the visuals tore apart my eyes... the list goes on and on. Even the lettering was horrible! And the characters that were new were either a) not interesting or b) terribly grating. I love Samuel L. Jackson as much as everybody else, but having a character that speaks primarily in SLJ quotes isn't quirky or funny. It's goddamn annoying.

    The worst thing about this issue, though, was that it seemed to never end. Extra pages can make a well-written comic even better, but they make a poor comic even worse. I was literally saying aloud "When is this going to end?" and nearly just stopped in the middle. Unfortunately, my task as a reviewer required me to finish the issue, leading me to feel like I was stuck in a black hole made entirely of the worst the 90s brought to Batman comics. Sure, 56 pages for $3.99 is a hell of a deal for a comic nowadays, but I wouldn't pay a single cent for this.

    This isn't a bad comic. This is an atrocious comic. How Berganza was promoted when he creates stuff like this is beyond me. I know that editors aren't the same in the comics world as they are in the literary realm, but anyone who would write the poorly-structured sentence "Before its famous Commissioner Jim Gordon, its police department was one of the most corrupt" should not be given a title even resembling that of "editor." Oftentimes you will see comics that are so bad that they are hilarious; this, on the other hand, dips even lower than that and is just bad no matter how you look at it. I want the time I spent reading this back, with interest.

    Final Verdict: 0.5 - Don't even look at it.

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More info:
    Written by Eddie Berganza
    Illustrated by Carlo Barberi and Juan Vlasco

Publisher:
    Image

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Feb 25th, 2012, 6:40 am
Feb 25th, 2012, 11:55 pm
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Title: Batwoman: Elegy (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: Steve Aryan (Don't click it, read the review here... ;) )

" Highly recommended."

Review:
    Batwoman battles a madwoman known only as Alice, inspired by Alice in Wonderland, who sees her life as a fairy tale and everyone around her as expendable extras. Batwoman must stop Alice from unleashing a toxic death cloud over all of Gotham City but Alice has more up her sleeve than just poison, and Batwoman’s life will never ever be the same.

    This is the first collected edition of Batwoman, a new Batman-related character that appeared a few years ago. To begin with she had the odd cameo in other comics but this was the first time the character had her own storyline which appeared in Detective Comics. In preparation for the new ongoing Batwoman title as part of DC Comics new 52, I thought I should read this again and refresh my memory of who Kate Kane is.

    A common complaint about mainstream superhero comics is that their long history makes it difficult for new readers to jump on board. Not only because they don’t know what has happened before and how it effects the present, but also because they don’t know who the characters are. I also think this is a fair comment for the most. So, having said that, if you intend to pick up the new Batwoman title, then Batwoman: Elegy has everything you need to know about the character in one volume. It’s very likely there will be some sort of a recap in the new series, but Elegy tells you in detail who the character is, how she was trained, what motivated her to become a crime fighter and what drives her. It’s the origin story of a modern superhero and by that I mean in the old days, toxic waste or an irradiated spider was all you needed to have superpowers. Nowadays we expect more from an origin story, especially for the more grounded street level superheroes, and Elegy has it in spades. There is no vague hand waving, magic or technobabble to explain away something the writer didn’t think of, everything is there. We know who trained her, how long it took and where the technology and money comes from to fund such an operation. Not everyone is a billionaire playboy with a corporation behind them to provide the means to develop the next generation in non-lethal weaponry and vehicles.

    The other thing worth mentioning is that the new ongoing series will be written by J.H Williams III and he will be doing some art duties on the new book along with W. Haden Blackman. JHW is the artist on Elegy so he knows the character intimately since he and Rucka worked very closely to create her, so the new ongoing series is in excellent hands.

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    Elegy begins with a new insane villain who thinks she is Alice from Alice in Wonderland. She talks in riddles and sees the world around her in a way that doesn’t seem to make much sense. Also for an unknown reason, she has been given leadership of a major crime organisation and Batwoman is there to stop her from day one. As the story unfolds we’re told a little about previous events not seen in Elegy, but there’s enough information so that you are not left scratching your head and wondering what you missed. You could go back and find the other issues to get more info, but I don’t think you need to.

    It’s also clear very early on that Kate is not doing well juggling her crime fighting with finding time to have a social life. She sleeps through a major portion of the day and this takes a toll on her relationships. But she is not a lonely brooder, she has a family and friends and Kate is a real person not the mask. There is some debate in comic circles if Bruce Wayne is just a mask for his real personality, the Batman, but Kate is a real person. Batwoman is just a costume she puts on but she is still Kate even when wearing the mask.

    There are lots of parallels between Bruce Wayne and Kate Kane, but there are also a number of major differences. She wasn’t driven by the death of her parents to become a spectre that scares the criminal element. She had a plan and despite some tragedies which we see in flashback, she was not deterred and went after them with passion and dedication. Becoming a crime fighter is not something she planned or thought about until fairly recently. Kate is a fully rounded character with flaws like every human and we see her at her best and worst moments. But like Bruce she won’t be turned aside or distracted and she is dedicated to stopping mad Alice before she can unleash something horrific on Gotham.

    There’s another aspect of the character I’ve not touched on until now because when Batwoman was first announced by DC a couple of years ago, the press latched onto this aspect and the story became about it and nothing else. It didn’t matter to them that this was a very well written and interesting comic, it was just a juicy headline to catch the eye. Kate is gay and while it is part of her story, this is still a crime comic and it’s not the whole story. Unfortunately that didn't matter to some people and they took offence, which is a real shame, as they're missing out on a great read. It reminded me of when some people burned the Harry Potter books because they claimed the novels promoted witchcraft.

    Overall Batwoman: Elegy is a beautifully drawn and gripping comic that gives you a solid grounding in the character. After reading I think I understand Kate and what drives her to put herself in danger fighting criminals and I can’t wait to see the new ongoing Batwoman series. Highly recommended.


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More info:
    Greg Rucka writer
    J.H. Williams III penciler
    Alex Ross, J.G. Jones cover
    Dave McCaig, Dave Stewart, Laura Martin colorist
    Jared K. Fletcher, Todd Klein, Cully Hamner letterer
    Michael Siglain, Harvey Richards editor

Publisher:
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Feb 25th, 2012, 11:55 pm