Review: Umbral #2

This is a harder review for me to write than the first issue was. It’s probably due to the fact that so much happens that I don’t know where to start; what do I leave out and what do I make sure that you know? I enjoyed the issue, but in a lot of ways it’s an issue you just want to enjoy and not critique. Well enough of that let’s dig into this issue shall we? I’m going to pick back up with Rascal where we left her in the last issue because the opening didn’t make much sense to me. I’m not sure what it tied into exactly and if it’s what I think then it wasn’t a strong connection. Any ways, Rascal has discovered that Jinglefingers is actually one of the creatures she encountered in the castle. Apparently they’re called Umbral; in my first review I speculated that “Umbral” referred to the land in which Rascal traveled and hey it might have a double meaning, but for now it’s just our smoky looking bad guys.

Rascal manages to jump over the ledge and escape, but our Umbral switches back to his human form and calls the guards to capture her. She makes a run to the wall and is nearly home free when a bolo whip hits her and drops her back to the ground. She tells them to just kill her which confuses the guards because they’re humans and just think that she’s stolen from Jinglefingers. At that moment our blonde tramp that attempted to help Rascal in the first issue, reappears and offers his assistance again. She’s a bit creeped out by him following her, but after her rescue he tells her that they have much to discuss and need to get a move on it.

There wasn’t much if any character development in this issue, but I do have a sense of Rascal’s personality. It was more character expansion. The way she acts towards Dalone, the blonde tramp, is humorous and accurate. Why should a young girl trust a dirty old man following her? What was more interesting was when Dalone “used” magic and seeing how Rascal responded to it. It’s clear that this city is fearful of any kind of magic. Rascal becomes more frightened of Dalone than she was of the Umbrals at this point.

Antony Johnston writes a fun story that entertains from beginning to end. I know what’s happening on the page, but I couldn’t tell you what’s happening in the overall plot and that’s exciting. Why are the Umbral there? Where are they from? It’s why we read stories, to discover a mystery and explore something new. So often I can see through the formula due to the genre or just the fact that there’s a formula, but Johnston focuses on telling a story. Umbral doesn’t fit in this genre or that. It can’t be compared to something else other than perhaps its influences, but overall he’s just telling a creative story and telling it well.

I said in that last issue that the veil has been lifted from my eyes on Christopher Mitten’s artwork. That holds true in this issue as it takes on a flight or fight pace that never really slows down. I talked about the fear on Rascal’s face when Dalone performs “magic” and that’s all Mitten. That fear is so real when you see it and this is after she’s witnessed the King and Queen murdered and chased by demonic creatures. Think about how scared she must have been then if magic was more frightening then than all that. Mitten’s art really is a strong part of what made this issue and the series in particular so much fun to read.

Well the first issue of the series was pretty damn popular and I can’t see people walking away from it after reading the second issue because it was just as good. It’s rare that I don’t want to review a book because I just want to enjoy it, but that was the case here. If you liked the first issue you’ll definitely dig this issue and then like me you’ll be looking forward to next month.

Score: 4/5

Writer: Antony Johnston Artist: Christopher Mitten Publisher: Image Comics Price: $2.99 Release Date: 12/18/13

Review: Zero #4

Ales Kot’s Zero is an experiment in controlled disarray, a story of a man rushing face-first toward his inevitable ground zero. Its hard-edged, non-linear storytelling has been a sick pleasure to see unravel, particularly in the hands of the book’s “new-artist-every-issue” dynamic, which offers an individually expressive feel for every different point in main character Edward Zero’s unusual and violent life. The story of issue four, which carries the apt title “Vision Impairment,” follows Zero in the year 2019, as he interrogates a man named Gareth Carlyle: a discharged “bullet” of The Agency who has since gone quietly rogue after leaving, thereafter attempting to build a life of peace by establishing a sense of order in Rio De Janeiro with his adoptive gang of formerly aimless street toughs.

Of course, Zero isn’t there for a simple natter, and fisticuffs, as they are inevitably wont to do in this book, ensue as he realizes that Carlyle (in a great tie-in from Zero #1) is exactly what he will soon become after The Agency has had their way with his skills, and he outlives his usefulness.

In a way, this issue reminds me of the conceit of the film Looper, a simultaneous look into the past, present and future of a character bound for a violent and inglorious end. Kot works exceedingly well within that dynamic, and while it does switch between a dearth and excess of dialogue and exposition, Zero #4 continues the series’ terrific look into what builds and has built characters bred for murderous purpose.

Having worked with Kot to great effect previously, Morgan Jeske’s art is once again a powerful visual accomplice in this story. It comes cut from the same weathered, beaten and deeply scarred cloth as the narrative itself and works particularly well awash in the burnt sepia stain provided by Bellaire. Everything about it is brutal, not only in the vicious fight scenes that carry the issue’s two combatants across a scabbed and quivering Rio de Janeiro, but also in its quieter moments of lost beauty in its tragic, extreme-Bukowskian love story.

Amidst the cracked, sun-burned facade, Jeske also pulls off some clever tricks in his page anatomy (the scenes retelling the courtship and downfall of Carlyle and his lady-friend are of particularly note) and in his wordless, yet no-less evocative panels.  His roughly-hewn style is sometimes discombobulating, but only where it needs to be and he is able to be both suggestive and forthright, with the car chase and resultant final throes of battle being a prime example.

Another one that particularly stands out is a close-up of Zero’s eyes; heavily grooved to give off deep consternation, they also remind me of a Rorschach test, and to me at least, appear like two savage wolves rushing at each other in a fight to the death: a fantastic visual precursor of the events that immediately follow.

While being a bit unbalanced between its text-heavy beginning and action-drenched second half, and suffering from an odd “listen to our hearts” scene, which fell flat for me, I found Zero #4 to be a great extension of this series, further firming it as one of my favorites currently on stands.

Score: 4/5

Writer: Ales Kot Artist: Morgan Jeske Colorist: Jordie Bellaire Publisher: Image Comics Price: $2.99 Release Date: 12/18/13

Review: Godzilla: Rulers of Earth #7

G-Fans have had a real treat in the last month.  First, issue 6 of RoE delivered a perfect balance of monster fights and building smashing action with the return of fan favorite Jet Jaguar to make the comic a perfect score on my scale.  Then, Legendary pictures goes and drops the teaser trailer for Godzilla 2014. Battle Las Vegas continues as Godzilla squares off against Gigan.  In a throwback to 70’s Godzilla movies, Jet Jaguar joins the fray.  With Ogra regenerating and Moguera team flying to assist, the kaiju count makes this a battle royale.

Chavez gets caught and confronts the alien invaders.  Additionally, there’s a tone of exposition that slows the pacing of the story considerably.  Unfortunately, the origin of Jet Jaguar in this G-universe must be explained at the climax of a great battle. The compensation for that comes from the artists cool depiction of the Gigan’s glowing red eye in the shadows during the fight scenes.

This has been an awesome battle to witness.  Unfortunately, the safety is on and none of the kaiju are falling in battle.  I understand that the licensing prevents the monsters from taking a critical hit, but the whole thing is starting to feel like a Pokemon battle.

Despite that, pick up this issue and enjoy Jet Jaguar kicking a lot of kaiju ass.  Mowry’s Godzilla has been a monster to cheer for and run from!

Score: 4/5

Writers: Chris Mowry and Matt Frank Artists: Matt Frank and Jeff Zornow Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Ghostbusters #11

Part three of “Happy Horror Days” is here just in time for the Christmas season. I guess that I shouldn’t really be surprised that the main focus of this story is a villainous Santa Claus. As Egon so eloquently puts it, “Santa Claus is a bastardization of Sinterklaas, softened by decades of poetry, ad campaigns, and children’s programming.” This original legend of the chubbiest and sweetest old man in history actually takes traits from Odin, the Norse God, and various other pieces of folklore with some traits of the Catholic Saint, Nicholas. And he isn’t as jolly as we’re used to. He does reward good children with gifts, but the naughty ones don’t get off as easy as just getting a lump of coal in their stockings. They’re punished. Often times they’re abducted. If that wasn’t motivation to behave I don’t know what is. It looks as though this less than saint-like “Sinterklaas” has shown up and is scaring the Christmas spirit right out of the kids of Rhinebeck, New York.

This issue succeeds in two areas. The first way is that it is extremely educational. I kinda enjoyed the history lesson. I had very little knowledge of how the Santa that we know and love today, became what he is. There is so much history behind the folklore. The coolest part about it is that it’s all true. Erik Burnham didn’t just fill this book with a bunch of original ideas from his own mind, in case you were wondering. I looked into it. This stuff checks out. The second thing that I liked about this issue is that it really sets up the next issue. I’m actually really excited about that one. I think that when you finish this issue, you’ll start to get all fidgety with anticipation. I can’t remember the last time that this subject matter was used in comics.

The look of Sinterklaas was cool. Dan Schoening did a really good job of keeping the classic look of the times. He wasn’t dressed in any Santa Claus outfit that I had ever seen, which by the way was accurate too. I liked the overall feel of the book. Like Dustin, I like to see how winter is depicted in comic books. If you haven’t been graced with any snow yet, there’s a bit in here. And it is well drawn.

I’m hoping that Erik Burnham and Dan Schoening really deliver next month. At this point, I’ve kinda come to expect a pretty interesting story based on the carrot that has been held in front of our faces with these past few issues of Ghostbusters. I guess we’ll just have to wait and see what they have in store for us.

Score: 4/5  

Writer: Erik Burnham Artist: Dan Schoening Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Kiss Me, Satan #4

This series has gotten better from the first issue, and this month’s installment of Kiss Me, Satan is no exception.  It starts out with Barnabus burying Verona, who died last issue, in the middle of the forest.  Now the only witches that are alive are Liddy and Zell.  However, Liddy starts hitting on Barnabus and tries to cast a spell on him.  When she does this, her spell is countered and she is violently disarmed by Barnabus’ amulet.  Liddy mentions someone put a spell on her, and we’re introduced to Malcolm, a mage whom Cassian sent to kill Barnabus.  He put a hex on Liddy so she would attempt to kill Barnabus. What nobody realizes or understands is that Barnabus’ amulet acts like a shield to magic, rendering Malcolm useless against him.  However, with a snap of his fingers and the claim that Liddy was of no use to him, he vaporizes her, leaving Zell the only surviving witch.  Barnabus then tracks down Malcolm and is about to kill him when Malcolm transforms into a crow and files away.  Now, all that is left for Cassian to take are the two things that he wants: Barnabus’ amulet and the Eye of Fates, which Zell now possesses.

We’re given a glimpse back at Cassian’s house.  Cassian is disappointed in Malcolm’s failed attempt, which Malcom is infuriated by.  He tells Cassian that this is his mess, and he’s going to help Malcom clean this last bit up.  Later in the book, we see Cassian talk to his son.  He is talking out loud, although obviously his newborn baby doesn’t understand what he’s saying.  He talks about how his son doesn’t have the lycan gene.  His wife will be disappointed, but eventually will be happy for a ‘second chance.’  We then see him pull a gun out of his robe…

I don’t want to give anything more than that away, this issue is definitely worth reading.  Next issue is clearly going to be an all-out-war, and I’m looking forward to seeing the conclusion of this miniseries.  The art throughout this series has been gorgeous, but I especially noticed it in this issue.  I loved the magic and action sequences the most, they were hectic, but still super detailed.  Also, I felt like I was right beside Malcolm and Barnabus in the fight-the choice of angles to show in the panel were expertly crafted.  The storytelling at first I thought was going to be a generic attempt at a supernatural/drama story, but has turned into a book that I’m really looking forward to see the conclusion.  The pacing of this issue was great, and it progressed into a perfect cliffhanger for the final issue.

Score: 4/5

Writer: Victor Gischler Artist: Juan Ferreyra Publisher: Dark Horse Comics Price: $3.99 Release Date: 12/18/13

Review: The Strain: The Fall #6

The Strain is the creation of Guillermo Del Toro and Chuck Hogan that is soon to be coming to the small screen in a television series set for release in 2014. Dark Horse Comics began work in adapting it into a graphic novel shortly after it was written, using writer David Lapham on the scripting. The graphic novel has had good acclaim since its release, and it is quite merited of the praise it has received as it blends in some of the best elements of vampire fiction with zombie apocalypse overtones to create an end of the world tale that will entertain and excite the reader at the same time. A vampire virus being spread by worms has infected New York City, but the public is mostly unaware as efforts to keep it under wraps have been made. Things are beginning to unravel however with the end looking to be imminent. It is up to a pawnbroker, a doctor, an alcoholic, an exterminator, and a criminal to save the world as we know it, but they may have failed before they even have begun as very powerful forces are working against them.

This issue continues to play like a television episode with voice overs of action being portrayed and excellent visual imagery being utilized to convey the seriousness of the threat. The characters are all interestingly scripted and drawn as the story has a very smooth flow of emotion and energy on every page.  Lapham has taken Del Toro and Hogan’s story and he has added substance to the writing that makes the art all the better as it blends so smoothly to it.  The infected sufferers of the virus in The Strain are not very pleasant to look at. They are quite disgusting and artist Mike Huddleston, gives the reader a sense of dread when portraying these beings. Of course the primary characters are also drawn with a subtle frailty that accurately captures the futility of their mission. It is hopeless cause, but they know they must try, or there will be no hope at all.

In this issue, we get to meet actual vampires of the non-infected variety and see them as possible allies in this struggle. They too are drawn as rather decrepit pale and dull figures.  They are still frightening, but not as sinister or as frightening as the infected are.  It would almost suggest that the virus may also spell their own doom as well as they prepare for the new shape of things.

The first five issues have been a continual downward spiral into chaos, but here in this issue, a "good break" occurs. Something that might mean things could be looking up for our heroes.  But we likewise are beginning to see a conspiracy that is starting to unfold too that may make the Strain simply impossible to end with success in defeating it. It could be just too strong.

I give The Strain extremely high marks for is use of dark storytelling in an intense action packed thriller. If the television show can tap into just a little bit of what the comic is doing, then it will be real hit. I for one, certainly hope so.

Score: 5/5

Writer: David Lapham Artist: Mike Huddleston Publisher: Dark Horse Comics Price: $3.99 Release Date: 12/18/13

Review: Saga #17

Written by Guest Contributor: Jordan North There isn’t too much that hasn’t been said at this point. Brian K. Vaughan and Fiona staples make, arguably, the pound for pound greatest comic book on the stands. Pure creativity, pure intimacy and utter ballsiness are the tenets of it all; allowing them to tackle sexuality as if it’s no big thing, violence as if it’s no big thing. That’s the great part, as fanciful as the world and characters are? There’s no Hollywood to this thing. It presents everything so damn honestly and forwardly and thus doesn’t make any mockery of any of it. That’s how this book can have so many hard-hitting and profound moments in one issue, both these creators brilliantly handle the fantastic in a way that lets the stories preserve and deliver a product that is purely human.

Shit goes down this issue, and I mean it. All the bubbling factors that lead so many characters with such complex motivations and personalities come together and the fireworks do not disappoint. So many delicious moments happen, just beautiful, lush stuff. Read the scene between Heist and Prince Robot 4 and tell me Vaughn isn’t one of the best out there. All in one issue: Homosexuality, cruelty, love all tackled because Vaughan realizes something profound about storytelling: when you tackle things on a human level first, there are no limits to the story you can tell. The story telling attempt here is ambitious, with major shifts happening as far as narrative changing events, and poetic lessons being taught, but it all gets pulled off with a zany surgeon’s precision, damn near perfect storytelling.

At this point you know what it is, Saga is the coolest comic around and for good reason. This issue it all blows up and if you’ve ever had any stock in this story? This is the issue you don’t miss. It’s the best damn $2.99 you can spend as a comic fan.

Score: 5/5

Writer: Brian K. Vaughan Artist: Fiona Staples Publisher: Image Comics Price: $2.99 Release Date: 12/18/13

Review: Revival #16

One of the reasons I love Revival so much is because no matter how much I get invested into the story, sometimes at the end of an issue I feel like I know nothing about this title at all.  This is one of those issues.  It starts out with Wayne and Ibrahaim checking out a slaughterhouse.  I wonder how Edmund Holt is taking this whole situation, because it was clear at the end of last issue he won’t be a part of the governmental farm animal slaughter. Around the same time this is going on, Dana visits Em at college to regroup and check in on how she’s been doing since the car accident with Jordan.  It’s clear that the media is fluffing the stories up a lot or they just don’t understand the Revivers, because we see Em reading an article online about Joe Meyers.  If you remember, back in issue #13 Joe finally died after visiting Thang Vang in the hospital.  She made him a new ring, different from the one she stole while she was housekeeping at his place.  She said it was a good luck charm and keeps the soul in the body.  When he held it, he just burnt inside out like other Revivers when they’re ‘set free.’  Anyway, this article claims he’s a suspect for arson.  I love the little details that are thrown in there, I think it’s interesting to see different people’s view of it, and in this case the media is acting like…well, the media.  Em gets sick after reading this article, which I’m not sure why.  Perhaps it’s because the passenger inside of her is telling her that it’s bad because Joe ended up being set free?  Em then greets Dana, and they start talking inside Em’s dorm room.

Dana lets Em know that May Tao is asking around about the Checks, which obviously will lead back to Em murdering them.  Em kind of plays it off like she knows who she is, but she doesn’t know her.  We all know this is a lie, as we see her go through the different encounters she’s had with May in her mind.  Dana realizes she could be trouble, so she assigns Em the task of following May around.  When Dana goes back to the car that Derrick is driving, she looks a bit upset.  She realizes that Em was lying to her, which is ironic since right now they should be closer than ever, trying to solve Em’s murder and protect themselves from May.  But Dana says “Sometimes I think the one thing Revival Day did right was bring me closer to Em… And sometimes I think all it did was give us a whole bunch of reasons to lie to each other.”

On the government’s side, it seems like something fishy is going on.  Ken Dillisch, the mayor, put this animal slaughter in effect since they think whatever caused Revival Day has affected the lakes and streams.  While Wayne and Ibrahaim are talking inside the slaughterhouse, it can be implied that Wayne thinks that Dillisch is using his plan to distract people from something else that is really going on behind closed doors.  What exactly that is, we’re not told.  When they’re walking back to a squad car, Wayne finds a card on his windshield.  The first thing I noticed about this card is that it depicts the Joan of Arc: a saint card, Wayne says it’s a “souvenir of a martyr.”  I just learned about her in my history class, so I know that she was burned at the stake when she was 19 for heresy.  Is this referencing to Em, who is also 19?  The quote on the card says “The tree is thirsty,” and Wayne points out this is a paraphrased Thomas Jefferson quote.  If I’m not mistaken, whoever wrote on this card chose it from a letter he wrote, in which he said: “The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants. It is its natural manure.”  It’s clear that someone is sending them a message.There’s another visit from a character we haven’t seen since issue #11.

There’s a lot more going on in this issue than I’m letting on, so go buy it.  One last thing I’d like to say regarding the story is if you’ve missed some action and thrills in this book for some reason, you’re gonna want to check this one out.

One critique I have about this issue is that some people may see it as a little weighty or too deep story-wise.  For a casual fan of this book, it may be getting confusing and the fact that some characters are coming back and we’re introduced to new mysteries (like what was going on with May?) 16 issues in may be a little frustrating or a little intimidating.  For big fans of the series like myself however, I wouldn’t want it any other way.  The story just keeps getting better each month, with brilliant writing and stunning art, both cover and interior.  Revival continues to be my favorite $2.99 spent each month.

Score: 5/5

Writer: Tim Seeley Artist: Mike Norton Publisher: Image Comics Release Date: 12/18/13 Price: $2.99

Review: The Illegitimates #1

Like most people, when I read that IDW was publishing a book based on a James Bond character’s bastard children I thought, “Yeah… that’s about right.” My next thought was, “I wonder why this took so long to make?” The thing about this concept is that it’s a long running bad joke that James Bond must have a ton of bastard children with all the women he bangs… well the ones that survive the adventure that is. I have to start with the cover and by that I mean the “A” cover showing our James Bond esque character named Jack Steele (yup, it’s very original) surrounded by pregnant women in bikini’s. Well it’s the winner of strangest fucking cover of the year, but we don’t give out that award on this site. Maybe it’s that they all have the same size stomachs or that they’re standing awkwardly with guns in bikinis but this cover is beyond strange.

The story kicks off following Steele’s career over the years starting in 1962, which is the same year that Dr. No  was released so that was a nice tip of the hat. It would have been better if it was 1953 since that was the year the first Bond novel released, but whatever. It’s a familiar scene with a martini and gambling and ends with Steele getting out the situation by jumping off a boat and setting off a bomb. From there we see similar exploits, but all of them ending with him getting busy with a lady. I mean they don’t show it, but it’s heavily implied that they played hide the sausage… took the wood to the beaver… okay two’s enough.

Eventually the story catches up to the modern era as we find a much older Steele jumping through a window onto a moving train. A man dressed in white named Dannikor makes a lame joke about checking tickets and they begin to fight. Steele, aged but still strong, quickly overpowers Dannikor. As Steele begins to boast though Dannikor tells him he was only serving as a distraction. [SPOILER] Steele turns around and catches his head on an overpass and his brains go everywhere. It’s probably one of the coolest scenes I’ve ever seen in a comic book. Seriously it’s a great scene and you really have to think to yourself, “fucking finally.” Did you see The Wolverine? Remember that really long shitty train scene that ended in typical fashion? Well this will cleanse the palette for sure.

This creates a problem obviously because Steele is the best there is and ever will be. As his handlers point out the next ten agents aren’t even a tenth of Steele combined together. In the ops room we meet General Kole, a dude named Edwards who is “M” in a way and Miss Heatherpence… I’m sure you can figure out who she’s supposed to be. They head to Edwards office so he can set up plan “B” which as he puts it is “the bastard children of Jack Steele.” My god I laughed really hard at that line.

I covered several pages of the story, but not a lot of the plot. If you haven’t figured it out already the rest of the issue is spent introducing the kids and what their individual talents they inherited from their father.

The reason this story works is because it’s fast paced and nothing really happens other than [LAST SPOILER WARNING] Steele’s head catching an over pass. Really I could have said this for the entire story: James Bond action stuff, James Bond fucks five women, James Bond dies, and James Bond’s kids take his place. That’s all that happens, but it’s ridiculously fun to read the dialogue and the pure Bond cheese that this story has.

Will I be back for the next issue; most certainly. Do I have high hopes for it? Not really. Again the charm of this issue is that we really don’t deal with Steele, we just see him in action and frolicking in the forest of foreplay. We also don’t deal with the children who I’m sure will mostly be annoying. Steele works because anyone that’s seen a Bond movie can instantly relate and paint the character upon Steele, but with the kids we won’t have that. Unless it’s James Bond Jr. in which case sign me up again!

The art work is great. It works for the story and is very realistic looking. The action sequences may be brief, but they’re easy to follow which is very important. The fact that Steele ages before our eyes is also very cool. Seeing him over the years was a great node to Bond and very effective in conveying the story visually. Plus that dude’s head exploded! I mean that shit was great. If I could give one page of a comic an award that page would get it (sorry Saga #16).

I’m hopeful for the next issue, but I’m not expecting anything from it. Everything points to it being a very different issue and really more of the first issue of the story line than this issue is. If it can succeed in making me laugh then that’s all that matters because that’s where this issue succeeded. It’s a big week for comics so I don’t know if I would tell you to pass on some of the other great books reviewed on the site, but if you really want to see a James Bond type character clip his head on an over pass while standing on top of a moving train like the asshole that he is… then this is your book.

Score: 4/5

Writer: Marc Andreyko and Taran Killam Artist: Kevin Sharpe Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Eternal Warrior #4

If you’ve read my reviews of this series previously, you might be mistaken for thinking I’ve been giving Valiant’s Eternal Warrior a hard time. And look, here’s the thing, I don’t hate this book, I just don’t think it had yet, in its admitted nascency, lived up to the greatness of its premise, nor the full potential of its creative team in Greg Pak and Trevor Hairsine. However, after reading its fourth issue, I am happy to report that those feelings of misgiving are, unlike Gilad Anni-Padda, the series’ titular immortal man, not eternal. This issue sees Gilad and his estranged (and similarly-eternal) daughter Xaran keep their word about attacking their old boss-goddess, the spirit of the earth. Equipping themselves with the only known weakness of deities (bazookas), the two find a tenuous peace together as they, quite literally, fire the first salvo of their war against the gods.

The end goal of all this is not just to end the gods’ indiscriminate tyranny over mankind, but also to free Gilad’s other child, the once more reasonable Mitu, from the thrall and service of the god of death, Nergal. Now, according to Wikipedia, Nergal was a legit Mesopotamian god whose “emblem was a cock and [name] means a ‘dunghill cock.’” Nothing like a good ol’ cock in your nergal, am I right, Bastards?

Eternal Warrior #4 brings to the fore a few elements I thought were lacking from the series previously, breaking away from the expected with the surprisingly explosive move by our “heroes” at the end of the book, and stretches out a fresh road that feels narratively less travelled. It also more concretely establishes its cast of characters and their motivations, principally the family of quarreling immortals.

Not only did the flashback that introduces this issue provide greater depth to the characters of Xaran and Mitu, as well as Gilad’s individual relationships with them, but the art, too (I believe from Diego Bernard), was great in capturing an outwardly more innocent time.

While we’re on the subject of art, I thought Hairsine’s stuff here was truly exceptional of the series so far (especially when cast against Bernard’s work) as the lacerated granite realism of the dark times of today. It was also much less cast in shadow, allowing his art, even when rain-drenched or swathed in night, to shine through more clearly.

Together, these two do an outstanding job in telling visually the anachronistic bedlam at the heart of this story. Props too must go to colorist Guy Major, who turns out some exceptional work here, not only in helping to distinguish the tone between times, but also between levels of existence. His treatment of the goddess at the end of this issue is absolutely stunning on the page, and a great example of how well he is able to establish contrast.

I do, of course, have to address the few things that still bother me about this issue, though they are much fewer than in preceding issues. Maybe the most measurable amongst these is the scene in which Gilad rails against his old partner, the terran sorcerer, Buck. Look, I get that Gilad is an overflowing bounty of hostility right now, but his petulant punch party just comes across as bad comedy, ruining with a sort of slapstick approach what I think is an otherwise pivotal bit of characterization for Gilad and his family, which is something the team worked so hard at establishing earlier on in the issue. It also makes him look crazy weaksauce that he can’t easily lay out Uncle Buck.

The above is a relatively small complaint in what is an otherwise great issue, which has really turned me back on to the series as a whole. Good timing, really, since the end of this issue [SPOILER] teases a significant shunt into the future. I’m a sucker for when stories do that, and in general couldn’t be happier to be back on-board with this book!

Score: 4/5

Writer: Greg Pak Artist: Trevor Hairsine and Diego Bernard Colorist: Guy Major Publisher: Valiant Comics Price: $3.99 Release Date: 12/18/13

Review: The Massive #18

I really had high hopes for this issue, but I was ultimately disappointed. This didn’t start or end in the way that I thought would be natural for the series. We were shown a side of Callum Israel that we hadn’t ever been shown before in the last issue, and now it appears that he’s just as confused as I am. I thought we were going to see a new direction for the series, but instead, it feels like we’re right back at square one. Now instead of there being a new direction, it appears that there may be no direction. My only hope is that somehow after all of this drama there will be some drastic steps taken to restore the same excitement and impulsiveness from last month. Callum shot Bors. Guess what, folks, he’s not dead. Callum finds a pool of blood and a firefight between the two men ensues. On top of that, these two men seem to be having a heart to heart while the rounds are being put down range. Not really the kind of conversation that I look forward to having anytime soon. Back on the Kapital, Mag makes a surprising discovery. It seems as though the dramatic irony has finally caught up with him.

The script this month is well written, don’t get me wrong, but I just really thought that Callum was going to start on a war path that would take the Kapital to new and interesting places, and I don’t just mean new locals. The mood just didn’t feel right. The only thing that really stood out this month is that it looks like we’re going to see some pretty interesting stuff come up between Mag and Callum in the near future. I have a feeling that Callum is not going to like the situation onboard the Kapital when he returns.

The art didn’t stand out like it did last month. I was completely blown away by every single aspect of issue seventeen. So much so that this didn’t feel like a continuation of that at all. I mentioned that the mood of the script didn’t feel right, but I feel the same way about the art. Garry Brown in a very talented artist. I really like his work on this book, but I just don’t think that we got his best this time around.

I really hope that this series picks up again soon, because I just didn’t connect to the characters like I thought I was going to. I really thought that there would be some groundbreaking events unfold because of the aftermath of that “shot heard round the world”. I didn’t see the Callum Israel that I expected or wanted to see. I do, however, have some new expectations for the crew. Who knows what will happen on that front?

Score: 3/5

Writer: Brian Wood Artist: Garry Brown Publisher: Dark Horse Comics Price: $2.99 Release Date: 12/18/13

Review: Mars Attacks Judge Dredd #4

If anyone reads my reviews, it probably has become pretty obvious that I dig on Judge Dredd. He has been one of my favorite comic characters through the years and I am probably one of the biggest cheerleaders for all of the titles that have been released by IDW regarding our perpetrator of justice in Mega City One. The releases have all been just great and I applaud IDW as I think Dredd (and the Teenage Mutant Ninja Turtles) have been phenomenal comics this past year in their line. That being said, I just couldn't get into this freaky crossover between two very different stories. One is a dystopic hard story of crime and punishment with a campy cold war feel to it while the other is a dopey invasion story straight from the 1950s that has a campy feel to it also, but in a far more light hearted and less intense way. It would appear that camp is the common denominator here. These two simply shouldn't be together, but here they are. And to that, I say, Drokk!!!

The story is supposed to be humorous with the effect of seriousness intertwined with goofy action. We have an old character in the Dredd world known as Don Uggie Apelino who is portrayed here as a hipster monkey man in a Mini Cooper that works with Dredd and company for escape and a little comic relief. We have Anderson and we of course have our big eyed, big brained, helmeted aliens bent on destruction, and we even have some intrigue in how the aliens have used the telepathic world as their breeding ground for those prominent thinking pieces they have. Then there is the ass kicking. The squishy, gushy ass kicking that occurs throughout the pages. Old Joe does a good job of dispatching these aliens, but as I have said. I just don't know about this story even with the ass kicking.

The story is readable and has its moments, albeit kind of goofy moments. Al Ewing does about as good a job as you could do with this one and his use of "action cards" to express plot points is actually pretty ingenious. But with the material that he has here, there is just not much he can do with it. The same holds true for artist John McCrea and colonist Jay Fotos. They capture Dredd in his classic form and even make the aliens a little more imposing looking than the Tim Burton movie could ever do. But once again, everything feels just wasted in the concept.

At least it does look like things have wrapped up here, to where we can let this one go as an experiment gone wrong and return to the standard Judge Dredd monthly and Classics renderings to get a much better read than the craziness that we have here. I still give the creative team props for taking a lemon and trying to make lemonade out if it. They deserve respect and hopefully better material in the future.

Score: 3/5

Writer: Al Ewing Artist: John McCrea Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: TMNT - New Animated Adventures #6

These Animated Adventures for #6 went back to what will be most profitable; basing the story around Mikey. Obviously, Mikey in the show is the big hit. Everyone loves his simple logic, dumb jokes, and his cute freckles. The comic is no expectation bringing Mikey’s same fun-loving attitude into their writing. Sometimes when I think they are taking Mikey’s stupidity too far, they always bring it back in. Mikey will usually then have the answer to it all making him look not so dumb. It is weird, but once you get used to the concept it works. Again, TMNT doesn’t pick up any of last week’s story. In my last review, I mentioned how the comic needs to keep some kind of continuous story. Maybe we will soon. I have no doubts that this issue will be picked up by many though, because Mikey is the star. Just flipping around the pages some, you will find high action, lots of explosives, and skateboarding. So it is a fun issue.

The Turtles want to start some action with the Kraang, but Splinter gives them the advice of just watching the Kraang in order to understand them. He teaches them about patience. But like most teenagers, these Turtles refuse to listen. They jump right into the action and even steal some equipment, so Donnie can study it. Well some fighting happens with Kraang and then Bam! The equipment they stole is now alive and appears to be some giant Kraang brain. As a kid, this bad guy is exactly what makes Turtles so much fun. Who else can have a giant brain driving the Shellraiser? Sometimes I have to step back and think “damn this is so freakin’ cool.” Now it is up to Mikey to save the day.

Not only is Mikey the focal point for the action, but also the comedy. He has tons of jokes all of which made me giggle. I think we see a lot of focus on Mikey and Donnie. I find this strange because Donnie was underplayed a lot in the old series. So I am glad to see Donnie getting some recognition. The whole “him having a crush on April” needs to be thrown out. It adds some fun, and light hearted pranks in the new TMNT world, but ultimately is super weird. If anything they should have just had Kasey Jones be introduced early on, so he could have the dumb-crush on April. I’ll roll with it for now.

All and all, it is hard to give a bad review to a comic that I do enjoy. It is high in action and brings that same fun from the show. But I also don’t know how long I will last with enjoying these superficial stories. It doesn’t add any detail that we don’t already know from watching the show. For now, I do buy the occasional issue mostly because the splash pages are so sweet. I love rearranging all the comics I hang up and the Animated Adventures add some cute covers. Other than that, I can’t see myself lasting much longer.

Score: 3/5

Writer: Cullen Bunn Artist: Dario Brizuela Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Samurai Jack #3

Written by Guest Contributor: Jordan North It isn’t the beautiful artwork of Andy Suriano, it isn’t how spot on Jim Zub writes Jack himself, (or even the awesome variant covers of every issue for that matter), though those things are there be sure, it’s the ability of them both, in tandem to tell a truly great, totally authentic, Samurai Jack story. Like this one as a matter of fact.

This issue tells the tragic tale of Glorer the Great, defender of the shining city in the fog. Over the course of some thirty pages we see Jack make a friend, connect with another warrior and then fight alongside him in battle, essentially a fighter’s nirvana and then... He has it all taken away from him. Its heavy in a beautiful picture book way.

Jack learns the battle and the whole town period has been a hologram from the beginning and that his friend, and this battle had been waged by Aku and Glorer’s beloved city of gold long before Jack arrived there. That he was a ghost of sorts; a warning from warrior to warrior of Aku’s devastating depravity and an encouragement, no a noble plea to end his evil once and for all. It’s all very beautiful and haunting and focused in the best way possible for the type of story its telling.

This new Jack, in comic book form, is Jack and its great Jack at that. Both from individual`s standpoints with ravishing landscapes and characters by Suriano that are at once all Samurai Jack and all his own or the aforementioned spot-on writing of it all by Zub. Particularly Jack himself who is every bit the original character, and strong original characters like Glorer who could stand along the likes of the Spartans or the Scotchman in the CN cartoon.

That all being said with the Jack formula it has inherit pratfalls. It tells simple stories and is very minimal so if you’re looking for dense lore or tons of characters all with complex progressions don’t look here. Samurai Jack has always been presented as a really great exotic children’s book of sorts, simple,beautiful and noble. Now if those things sound good to you (which they should)? You know where to go.

Score: 5/5

Writer: Jim Zub Artist: Andy Suriano Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Itty Bitty Hellboy #5

I have thoroughly enjoyed the run that Art Baltazar and Franco have done on Itty Bitty Hellboy. I actually named this little five issue mini as my favorite family friendly title of the year. It has been a breath of fresh air in every sense of the word. Wonderfully drawn, thoughtfully written, and excellently presented, it has been one that I highly recommend to anyone who wants to introduce the dark world of Mike Mignola to a young one without scaring the crap out of them. We have now entered into the final issue and I am actually saddened to see it ago. I believe the previous issue dropped the big bomb of the story line, but with this issue, a very decent wrap up has been given that once again, was entertaining and enjoyable to read. With this issue, Abe has invited everyone (yes everyone, it's a family friendly read) to a party and the issue depicts the various persons preparing to go. We get to Babi Yagas Turkey leg house finally in action as well as Hellboy’s attempt to deal with those turkey legs in a way that makes sense with the story. Likewise, we get to the conclusion of Roger's split selves embracing who they are and bringing Hellboy into the mix as well.  The three discover the comfort of the bush so to speak.

Art Baltazar and Franco’s story has made me a big fan and I actually have begun to search out similar works thanks in part to this title. Seeing all the guys, Hellboy, Abe, Lobster Johnson, Babi Yaga, Roger, et al. was fun and seeing how their interactions at more of a child level can be entertaining as can be. Hellboy is typically quite dark and disturbed fare, but not here. It is light-hearted, peaceful, and above all fun. It is a very good read for young and old alike. The coloring is refreshing, bright and airy. This is very nice when you realize how the material from this world can be pretty intense. It is a very impressive piece of work. These guys are real pros.

Now that all five issues are out, I would recommend this as an excellent Christmas gift for a kid who is interested in comics.  It is a hip kind of gift to be sure and the recipient will be entertained. Shoot, you might just have the next great Art Baltazar type in the making by giving this as a gift. It certainly does inspire.

Score: 4/5

Writers: Art Baltazar and Franco Artist: Art Baltazar Publisher: Dark Horse Comics Price: $2.99 Release Date: 12/18/13

Review: Kiss Kids #4

Merry “Kiss-Mas” from the Greatest Band in the World—or, at least the younger counterparts of the Greatest Band in the World.  This comic aimed at the child fans of Kiss or the children in all of us follows the adventures of The Demon, Starchild, The Catman, and Space Ace in their pre-teen exploits. “Kids in Santa’s Service” sees the group pay the local mall Santa a visit.  The poor guy isn’t the same as his lap gets rocked by the four pint-sized heroes.  “God of Blunder” has the gang wanting to play baseball while the Demon wants to play Thor.  “Battle of the Bands” pits the gang against a boy-band in a local talent contest.  And “Snow Blind” sees the return of the Kiss-bots in a snowball tossing adventure that makes an impact all the way to the North Pole.

You will enjoy the holidays even more when you get a little KISS under the mistletoe.  So pour a cup of eggnog, pull up next to the fire, and enjoy this yuletide edition of Kiss Kids.

Score: 3/5

Writers: Chris Ryall and Tom Waltz Artist: Jose Holder Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Ben 10 #2

Whew. I was scared that Ben 10 would not continue from issue #1’s story, and we would jump around in this less than satisfying world. But be it known that Ben 10 steps in right where we left off. Kids need cohesive story lines as well. A refresher for those of you who didn’t catch up with #1 includes Ben on a cruise ship running into a mermaid named Lorelai. Pretty much that is all you need to know.  Lorelai is a mystery and of course any teenage boy loves mysteries. So Ben chases after her turning into a pisces he calls Ripjaws, which is a sweet name. There are tons of comics I can see adults and kids enjoying, especially reading the comics as a family. But Ben 10 isn’t one of those. I see this comic strictly as child’s play. It is a fun comic, but I wouldn’t pick it up for the pure children's aspect. I will definitely rate this comic from my child-like brain waves. OK here we go.

I like all the bright colors with this comic. I always compare this comic with TMNT: Animated Adventures, and I think TMNT has the better color. Everything just really pops out with the action. Ben 10 is slower, but I think this is due to the fact that Ben is always morphing characters. What I do love is how the setting is based in the sea. I feel as if I don’t read a lot of comics that are based underwater or at sea. Maybe I should. Anyway, the mermaid element adds something different, so kids will certainly dig that.

I also think the characters are lacking some. Now I know this is probably just me not knowing enough about Ben 10, so I will give the comic the benefit of the doubt and conclude that most kids know what each character’s role is in the series. So far, Ben and Lorelai have come out well, but Ben’s team is confusing to a non-Ben 10 watcher. I don’t know how long Lorelai will last though. She decides to take Ben and his crew for an introduction to her crew. Her vessel, Terrapisciss, is underwater. Again, very cool. Both are here to protect the people, but Lorelai’s leader seems very sketchy. Max also seems to have his eye on her.

But both groups face a bigger threat; Ssserpent. This snake dude has a snake’s head and Fabio's body. It is quite amazing and also not someone to mess with. I believe the crews will come together in order to take down these slithering serpents seizing the seas. But again, I also think Terrapisciss has something to hide. I just hope Lorelai isn’t involved with all this madness.

Score: 3/5

Writer: Jason Henderson Artist: Gordon Purcell Publisher: IDW Publishing Price: $3.99 Release Date: 12/18/13

Review: Witchblade #171

When did Cindy Crawford become the bearer of the Witchblade? I’m telling you that’s her on the cover. Well this issue was different. I get that the series is building towards something and for now it’s very different from what the series has been in the past, but I don’t know if it’s interesting yet. The gist of the issue is that Sara’s in the hospital; the mayor of the small town for some reason thinks he’s still important and the bullet the doctor pulled out of Sara looks like a piece of the Witchblade. In our flashback story we find Sarah giving up the Witchblade after feeling out of control with it. She says after she killed the Darkness it doesn’t make sense for her to have it as the balance anymore… which if you’re thinking about it like I did, makes no sense.

If the Darkness was dead then the Angelus would be out of control so unless I’m missing that part of the story then I don’t buy that the Darkness is gone or that something didn’t take its place requiring balance again. Maybe I’m going to deep with it. As Sara tries to take off the Witchblade and rid the world of it for once and for all it comes to life in a Venom-symbiote type fashion and screams to be “whole” again.

It’s not a bad issue and actually it moves so quickly that it’s over before you really even feel settled with it. There were several small scenes that felt out of place and useless and they all involved the new supporting cast. I can understand wanting the audience to get to know them, but other than the blonde deputy they all suck. The thing about her though is that I can’t trust her. Something about her character is strange. A new sheriff is named and she instantly kisses his ass like he’s the best thing since sliced bread? I don’t buy it. Sure she calls him an asshole when she’s by herself, but otherwise she doesn’t miss a beat with the ass-kissing.

Otherwise the story is just okay. It’s not very interesting and while it’s different than a typical Witchblade story, it’s still contains familiar elements and is introducing more of those elements with each issue. It might be a good place for someone that’s never read Witchblade to start, but for a long time reader like myself it has a long way to go before it’s back on my monthly pull list.

The art is wonderful which is a bummer since I’m not feeling the story. Laura Braga has a great style that reminds me a lot of Pat Lee’s stuff on Darkminds or Luca Erbetta’s Sam and Twitch: The Writer. Her style is beautiful and even the scenes I deemed “useless” are wonderful to look at and distract you from their purpose or lack thereof. Colorist and Editor Betsy Gonia also plays a key role in the look of the book and a large part of the why Braga’s work resembles the aforementioned artists. The art was my favorite part of the issue for sure.

I’m going to try to ride out this first story arc, but I’m hoping for something interesting. I don’t really care that Sara tried to get rid of the Witchblade nor do I believe that she succeeded. That would be like Spawn without the Hellspawn suit, it wouldn’t be interesting for very long and in a way would just be a gimmick like a character death; we all know they return in the end. Again though, if you’ve never read Witchblade you’re not going to be bothered by most of the stuff I listed. You’ll probably still find the supporting cast to be useless and boring, but the other plot devices should be interesting so check it out.

Score: 3/5

Writer: Ron Marz Artist: Laura Braga Colorist: Betsy Gonia Publisher: Image/Top Cow Price: $2.99 Release Date: 12/18/13

Review: Conan the Barbarian #23

I’m going to switch up the way that I usually write my reviews a bit this week. I normally stick to a set format, but this issue of Conan the Barbarian really impressed me in a completely different way. Artistically. I don’t think that I’ve seen a more beautifully drawn issue of a comic book in my entire life. And this isn’t just flattery for the sake of flattery. Riccardo Burchielli has completely blown my mind. Conan has never been depicted so well. He has definitely taken charge of this series. But I’ll save the rest of this rant for after the recap. So Conan is still under the effects of the black lotus. That right there is enough to keep your attention. He’s wandering aimlessly for this unseen adversary, but it seems like the wild has been personified as it fights off every advance that he makes. He can’t find his crew, he can’t find his love, and the wild has taken over the mind of his most trusted ally.

As the script indeed stays strong with brilliant narration, the art has taken center stage in this issue unlike ever before. This book seemed almost interactive. The shadows have become a character in this particular story. The action sequences are so demanding that I almost felt physical fatigue after they ended. And watching Conan feel every moment made me feel them alongside him. There were several pages in this issue that invoked an emotion in me that I rarely ever feel while reading, one in particular, but the images were so powerful that I was speechless for several minutes after finishing it. I know that sounds unnecessarily dramatic, but it needed to be said. Like I said earlier, I’m not trying to flatter anyone, but if “best interior art” was a category for the Comic Bastards End of the Year Roundup, I would have no trouble filling that slot. I wish that I could track down some of this original artwork for my personal collection.

Don’t forget, folks, this run by Brian Wood is almost over. You really can’t afford to miss these events. This has been one of my favorite ongoing series for two years now. If you haven’t had a chance to jump in yet, you’re really missing out. No lie, you need to get online and add every single issue of this book to your cart as soon as you can. What the hell are you waiting for? Stop screwing around and make the best comic book purchase of your life.

Score: 5/5

Writer: Brian Wood Artist: Riccardo Burchielli Publisher: Dark Horse Comics Price: $3.50 Release Date: 12/18/13

Review: Captain Midnight #6

Are you a big fan of the Golden Age of Comics, but just don’t know what to do with all the new stuff?  Have you been looking for a modern title that has the spirit of a Golden Age piece, but is thoroughly modern in every shape of a way? Are you looking for an old public domain character that has long been forgotten be given an opportunity for the spotlight again? Are you tired of these questions and just want to read a review? Well Captain Midnight may just be a title for you. And here is the review. Bringing back the classic Fawcett Character for Dark Horse Comics, but with a nice modern twist, writer Joshua Williamson and artist Eduardo Francisco have created in Jim Albright (Captain Midnight) a good tale that mixes in modern storytelling with old school heroics that put the old Captain in a much more colorful role. The nice touch here with this series has been that Captain Midnight is still the original Captain Midnight. He disappeared sometime in 1944 and has only recently returned to the current time after being sucked into a vortex within the Bermuda Triangle.   Since reappearing, what he has discovered is that the Nazi menace may have been vanquished, but elements remained and corrupted his very own legacy by using much of his developed technology for individualized profit rather than humanitarian purposes, with the potential for much more sinister designs being implemented.

The good Captain must now figure out what is happening using the assistance of Rick, a Captain Midnight historian and great pilot on his own, Agent Marvin Jones, a hard boiled investigator, and Major Charlotte Lewis who is the granddaughter of a long-lost love. With the help of these three, Captain Midnight must battle an old foe in the form of Fury Shark who is behind the corruption of technology and in the mysterious company Black Sky that is utilizing that technology.

In this issue, a Mr. Hollow has been dispatched by Black Sky to terminate Agent Jones with extreme prejudice and we get our first good look at the Skyrocket, a highly advanced (though standard looking) World War II era plane that has been repaired and is ready for action. The mission here, dig deeper into Black Sky and discover the secrets that are being hidden at a secret locale in Washington, DC. Seems easy enough, but in Mr. Hollow, we see a hardcore super baddie that may have too much brawn over the brains of Team Midnight.  We will just have to see.

Williamson has done a good job in this series and his writing flows with gritty action and nice human interaction. Francisco’s artwork has been bold and powerful putting the Captain in a nice light that never looks cheesy for such an old legend that is reborn and redone. In short, Captain Midnight’s stoic and strong image of the past holds up and a new coolness has been added by the art of Francisco and the writing of Williamson. Well done guys. I also want to give big props to the colorist Stefani Rennee. Captain Midnight may be over seventy years old, but he has never looked better and the color just rocks in this retool of a classic character that also was a radio serial superstar back in the day.

I have been a huge fan of public domain reworks and I can simply find no fault in this title. It is entertaining, exciting, well written, with expertly driven artwork and color. Captain Midnight flies again. If events in this issue play out, Captain Midnight might just become known again, or not.  We are left hanging here, and I love it.

Score: 4/5

Writer: Joshua Williamson Artist: Eduardo Francisco Colorist: Stefani Rennee Publisher: Dark Horse Comics Price: $3.99 Release Date: 12/18/13