Monster & Wine don't get too heavy with the political stuff on their show, typically. However, this episode starts off with a bit of Donald Trump talk. He is, essentially, the elephant in the room and even the dynamic duo have to acknowledge him at some point. Monster showers Wine with praise in her recommendation of...
Read MoreYAY! Darkseid is back!
I don’t know about you, but I was a little worried that DC was making a big mistake after killing Darkseid for three months. That’s a long time in comics, but then he showed up again as a baby in Justice League #50.
Read MoreValiant's 2016 Convention Tour Goes Beyond for Space City Comic Con with Exclusive Merchandise, Panels, and More!
From May 27th to May 29th, visit the Valiant booth in Houston’s NRG Center for a first-hand look at why Valiant has conquered the comics landscape with a complete selection of Valiant trade paperbacks and deluxe hardcovers for award-winning titles, including X-O MANOWAR, DIVINITY, RAI,HARBINGER, ARCHER & ARMSTRONG, NINJAK, and many more! Then, visit the Space Cadets Collection store booth and the Space City Comic Con merchandise booth to pick up the 4001 A.D. #1 (of 4) SPACE CITY COMIC CON EXCLUSIVE VARIANT – featuring the artwork of Valiant exclusive all-stars Clayton Henry (HARBINGER WARS) and David Baron(DIVINITY II)! New York Times best-selling writer Matt Kindt (DIVINITY II), supserstar artist Clayton Crain (RAI, Carnage), and Eisner Award winner David Mack (Daredevil) kick off the FIRST ISSUE of Valiant's most ambitious summer event here as Rai leads the heroes of the 41st century into an explosive rebellion against the despotic ruler Father and the forces of New Japan! And head to David Baron’s official booth for an exclusive signature all weekend long!
The weekend shifts into overdrive on Friday, May 27th at 4:00 p.m. CT in room #201 for VALIANT 101: NEW FANS START HERE! You've heard the buzz… You've seen the reviews… Now find out where to start with Valiant Comics! From X-O MANOWAR to NINJAK to THE DEATH-DEFYING DR. MIRAGE and ARCHER & ARMSTRONG, jump on board here with a concise and fun-filled introduction to Valiant's biggest, most memorable characters…and find out for yourself why Buzzfeed calls Valiant "a universe full of your new favorite superheroes"!
Then, Valiant is giving Houston a sneak-peek at the 41st century on Saturday, May 28th at 3:00 p.m.CT in room #202 for VALIANT: THE SUMMER OF 4001 A.D.! This summer…the future of Earth will be decided in the stars when Valiant presents the blockbuster crossover event of the year in 4001 A.D.! Now, get primed for the epic showdown between Rai and the forces of New Japan right here! Plus: Don't miss an all-new round of news and announcements for ARCHER & ARMSTRONG, BLOODSHOT REBORN, DIVINITY, FAITH, NINJAK, X-O MANOWAR, and more!
We’ll see you in the Bayou City! And don’t miss a moment of the action as Valiant’s one-of-a-kind convention road show marches on through Denver; Phoenix; Washington, D.C.; and more all summer long!
Friday, May 27 – Sunday, May 29th Space City Comic Con NRG Center Houston, TX
Thursday, June 2nd – Sunday, June 5th Phoenix Comicon Phoenix Convention Center, Hyatt Regency Phoenix, AZ
Friday, June 3rd – Sunday, June 5th Awesome Con Walter E. Washington Convention Center Washington, DC
Friday, June 17th – Sunday, June 19th Denver Comic Con Colorado Convention Center Denver, Colorado
Look for more dates to be added to the Valiant 2016 Convention Tour all year long!
For more information, visit Valiant on Facebook, Twitter, Tumblr, Instagram, and ValiantUniverse.com.
For Valiant merchandise and more, visit ValiantStore.com
Review: Remote #4
Somehow, some way, Remote became my favorite series in the Double Take lineup. I love the character of Samantha and to see her start off as a fearful fill-in DJ just trying to keep her station on air to becoming the first shock jock, has been enjoyable. The first issue really sells this concept short because you think you’re just going to be seeing her survive the night, get rescued and so on. Instead she’s been awake for over 24 hours and on the air for longer than that. Ed, the owner of all the radio stations we’ve checked in with, is now in Peru. I’m fairly certain we’re not supposed to take his drug/sex filled night of escapades seriously considering how much ground he’s covering and the fact that he’s not sleeping either. He begins checking in with his three stations and because he’s a great boss, pitting them against each other. He then takes the time to also bribe the FCC agent on Samantha’s behalf.
As for Samantha. I don’t want to ruin anything. I will say that one of her Zombie workers brings her roadkill to eat and instead of her being disgusted she’s upset that there’s no utensils and turns it into a great bit of radio. Again, I love her character. The religious stations load up a bus to come and stop her and that’s all I will say.
Aside from the great bit of storytelling and writing that happens in this issue there is a big reveal that the story has been leading up to. I won’t even tease it since it will give it away. I damn near clapped while reading it. Seriously. If I wasn’t holing a comic in my hand I would have clapped with fucking joy like some sort of overly happy child. It got me pumped for more.
This series has always had the most dialogue because of the nature of the situation. The dialogue is its strong suit. Our three different DJ’s are all in very similar situations and it’s been clever seeing how the story has rolled out more and more info on all three of them. Ed is the uniting force and so his dialogue must also be snappy and quick. He changes hats/brands quickly in order to talk to the different DJ’s on what he feels is their level. The dialogue definitely elevates this series for me above some of the other titles. It’s just that hard to beat.
The art looks about the same as the last issue which is good. The coloring is a bit more improved, but otherwise it’s starting to have a more consistent look to it. Frankly all I want from a comic sometimes is consistency in the artwork. What’s different about this issue though is that we’re venturing out into the world with everyone else in the universe.
I also want to mention Charlotte Greenbaum’s letter in the back of the issue. Read it. It’s interesting and it’s hard for me to describe the manner in which it’s written, but it’s basically her journey into the world of comic books. I just wanted to point that out because I really liked it.
Not having read too many of the fourth issues yet, I don’t know what other surprises there are. Usually when I write these reviews I’ve already read all ten issues, but this time I’m spreading them out due to the time I have available to write them. I’m telling you that because something could change between now and when I do another review, but more than likely this will be the first series I read when the fifth issues hit. It’s been the first series I’ve read for the last two outings and with the way it ends… well I did try to clap while holding a comic so I’m more than a little excited.
Score: 5/5
Remote #4 Story: Bill Jemas, Young Heller Script: Michael Coast, Michaela Murphy, Charlotte Greenbaum, Gabe Yocum Layouts/Pencils: Young Heller Colorist: Bryan Valenza Publisher: Double Take Comics Price: $2.50 Release Date: 6/1/16 Format: Ongoing; Print/Digital
Review: Avatarex #1
As an opening to a tale, Avatarex checks off all the right boxes. I'm invested in the futures of the few characters Grant Morrison introduces. I'm eager to learn more about how this universe functions. And there's an air of fairly easily resolved mystery hanging over the final panel. It is a very familiar story. Or, at least, it’s shaping up to appear familiar. However, it seems Morrison's goal with Avatarex is to shift recognizable tropes across cultures. In doing this Morrison is able to do what he does better than most others. He's known for dissecting and analyzing superhero fiction without dismantling it. Here, he appears to be playing with his readers' presumptions. The sheer amount of self-aggrandizing present throughout this issue heavy-handedly sets up our protagonist as one in desperate need of humbling. Just about every line of dialog is the definition of hubris. At times it feels like the book’s pompous hero Avatarex might begin groping himself, so deep is his absurd narcissism. We don't know who he is or under whose authority he operates. The book presents Avatarex as a great force by conspicuously telling with very little showing. He's isolated, an individual certainly possessing more power than mere humans, but we don't know how he stacks up against others of his kind, though it's mentioned in passing that other such beings exist. I wonder if any of Avatarex's confidence is deserved. How will he react to inevitably being brought low? Is it as inevitable as it seems?
Jeevan J. Kang's art, despite a few sequential hiccups, is fantastic. Given how little variety there is in the script's settings, Kang works wonders. Our strutting protagonist is surrounded by cold machinery, warm techno gardens fill with crystalline lotuses, and the indifferent expanse of infinite space. They’re all beautiful in their way. Avatarex occupies each of these environments with little interest beyond how they serve to glorify his ego. The way he slides through each panel echoes his grace and strength, convincing you he is at least partially as amazing as he sees himself.
Morrison's story could prove interesting moving forward partly because it doesn't show it hand too early. The brief glimpse of action is reserved. Our view into humanity is fleeting, but effective. While the bulk of issue one focuses on amazing sights, it is clearly the setup for something much grander. Your satisfaction with this issue may not match your curiosity for future installments. In other words, this intriguing beginning may only be that -- a beginning with an uncertain payoff.
Score: 3/5
Avatarex #1 Writer: Grant Morrison Artist: Jeevan J. Kang Colorist: Jeevan J. Kang and NS Sathish Kumar Publisher: Graphic India Price: $1.99 Release Date: 7/20/16 Format: Print/Digital
Review: Dedication #4
It’s not that I wrote off Dedication too early, it’s just that it wasn’t one of the stronger series when Double Take launched its shared universe. I stayed with it because when a company has the guts to release all ten of their books at the same time it’s kind of hard not to. I mean if any other publisher with a shared universe said “here’s all of our titles this month, but they’re all out this week” I think you’d pay attention and be curious about all of them. It's a unique reading experience, that's for sure. Now, Dedication is either the first or second book that I read. This strange little story about a grocery store got it’s hooks into me deep. As the Double Take universe has rolled on its continued to reveal a little more of the puzzle each time. The first issues set the stage for everything and the second issues continued that; while the third issues started to reveal real secrets and set the stage for the jump to the future. The fourth issues seem to answer a lot of questions posed by the first three issues and the reveals are plenty. Dedication has had a lot of questions asked throughout the course of the series so it was nice not only to get some answers, but to be really impressed by them. I’ll try to keep the spoilers out the review so you won’t get the answers you’re looking for here, but again… it’s pretty fucking cool.
The part I’ll tell you is that George makes a list of other business and starts calling them up. Why? Well it’s unclear until he’s talking to the owner of the gas station that two of his employees inadvertently set on fire. Hands down I fell in love after this sequence. I don’t know what he’s planning, but I can’t wait to see more of his adventures. I suspect he’ll become some kind of mentor figure to the kids working at the grocery store, but we’ll see. If it’s how I think it’ll go down, I’m on board. And don’t worry the story spends time with the teens that have been kissing and putting their fingers back on after getting bitten off and of course there’s more kissing.
There’s a big jump in the storytelling. There’s more dialogue, but it doesn’t bloat the issue. We still have our character driven stories being told in the background, but with the addition of dialogue it feels more at home. The pacing of the story is perfect. The beats hit at all the right spots and it controlled the flow of the story wonderfully. It also made it a really quick read which isn’t a complaint, but I was kind of surprised by how quickly I made it through the comic, but how much I had learned about the characters and the series/universe.
This is true of all the Double Take books, but the art is getting better and better. The art really controls the pacing of the story and so everything I said about the beats and speed of the story stems from the art. The characters started out kind of forgettable, but now after a few issues they’re rather distinct. And kudos Young Keller and Dean Kotz for illustrating so many distinct background characters as well. It gives the series and world a feeling of being alive.
Before I get out of here, I will add that the extra material added to the issue is great and welcomed. There’s a character list with names and details about them. New one panel New Yorker style cartoons and a letter page. There’s some different material in different issues as well, but all of this is welcomed in my book. I like it. I like the little bit extra that’s been added when so many comics just focus on the reading experience and less on what has made comics feel like comics for generations.
This is going to be a hard issue to top. Which is a good thing. I thought that I would be reading this series just to read the entire line of books, but now it’s one of my favorites. Which is seriously crazy to me looking back at my review for the first issue. I’m glad though because if I had stopped reading it I never would have seen George put that guy in a sleeper hold.
Score: 5/5
Dedication #4 Story: Michael Coast, Bill Jemas, Young Heller Script: Matthew Summo, Mike Soviero, Bill Jemas Layouts: Young Heller, Dean Kotz Pencils: Dean Kotz Colorist: Leonardo Paciarotti Publisher: Double Take Comics Price: $2.50 Release Date: 6/1/16
Image Announces Full Color Blue Monday Trades
I'm a huge fan of Blue Monday. It's the series that showed me that comics could be more than superheroes. No lie. Its hands down the reason that I will give any comic a try because you never know what you'll get. I was sad that Chynna Clugston-Flores left Oni and brought it to Image, but I totally understand the move. That and it doesn't really change anything in the past for me, just a new logo on the cover for the future. I might get these trades. It's a little like coloring Scott Pilgrim in that regard so why I don't need it... I do kinda want it. And if you haven't read the series, well you should. From Image Comics:
Chynna Clugston Flores (IT GIRL & THE ATOMICS, Scooter Girl) will release the fan-favorite first volume of BLUE MONDAY, with all-new colors from Jordie Bellaire, this July.
Experience the Pepsi-fueled misadventures of Bleu L. Finnegan, comics’ favorite blue-haired, Buster Keaton-obsessed, Adam Ant-worshipping teenager from the very beginning! Featuring an introduction from Kieron Gillen (THE WICKED + THE DIVINE), this collects the original first volume miniseries as well as early short stories and more.
"BLUE MONDAY in full color is like a dream come true for me, since it's always appeared in the brightest of colors in my head,” said Flores. “The whole thing has been remastered in a sense––the art's been cleaned, it's as bright and alive as it always wanted to be, and it'll be full comic size instead of digest. It'll be at full-volume, maximum obnoxiousness, and I really can't wait for everyone to see its new incarnation."
"I grew up reading BLUE MONDAY in my teenage years, and it is the foundation for exposing me to all sorts of music, comics, and films that saved my adolescence from shit-kicker suburban hell,” said editor Ian Shaughnessy. “As a fan and now a friend, I couldn’t be happier working as Chynna’s editor on these new full-color editions, as well as on the new adventures of Bleu and the gang in future BLUE MONDAY comics. Jordie Bellaire’s vibrant palette is the perfect match for Chynna’s material, and seeing it in color is like reading it all over again, for the first time."
BLUE MONDAY, VOLUME 1: THE KIDS ARE ALRIGHT (ISBN 978-1-63215-704-1) hits comic book stores Wednesday, July 27 and bookstores Tuesday, August 2, and will be available for $9.99. It can be ordered by retailers with the Diamond code APR160791. It can be preordered now on Amazon, Barnes & Noble, Indiebound, and Indigo.
Review: Fear and Loathing in Las Vegas #1
How do you adapt one of the most famous novels of the 20th century into a graphic novel? Many comic adaptations have come and gone, abridging too much, or failing to capture the flow or energy of the original. Every once in a while though an inspired cartoonist emerges that can do justice to an important literary work. Artist and writer Troy Little is that rare cartoonist. Fear and Loathing in Las Vegas #1 captures all the wild mayhem of Thompson’s original novel perfectly. At times channeling Bone artist/writer Jeff Smith’s bold black and white line work, while also capturing the frenetic energy of Bill Watterson’s Calvin and Hobbes. It is high praise to be compared to two comic legends, but honestly, Little deserves it, his work is excellent. One of the greatest challenges to overcome in a comic adaptation is content. Do you abridge the comic and write your own shortened version of the book, do you use all of the text and clutter your pages with words? There is definitely a middle ground, somewhere between sacrificing too much of the book, but also substituting words for images. A good comic should be able to tell you a lot of what the words describe through sequential images, so you kind of know what’s going on before you ever read the word bubbles. In Fear and Loathing, Little took a mixed approach. While he does include full paragraphs of Hunter S. Thompson’s inner monolog, he doesn’t let that confine him. The best parts of Fear and Loathing are when Thompson goes off the deep end, ranting about the death of 60s counterculture or whatever, and no comic panel could ever replicate the words that he wrote. So Little decides to keep the majority of the text in place while adding some incredibly cartoony art.
Like I said before fans of Bone, Calvin and Hobbes, and even The Goon will be perfectly at home here. Little’s style is cartoonish but not in a crazy or goofy way. Thompson’s expressions and gestures should appear over the top because that’s the kind of man that he was. Little’s version of Thompson is perfect, he’s wild, out of control, and pretty insane. Despite the characters being depicted as cartoonish, the rest of the comic is not. Little doesn’t let his stylistic choice get in the way of the narrative, and with a jumbo sized 50-page first issue we are able to cover about a third of the novel in one sitting.
Anytime a comic artist is able to successfully adapt a great work of literature it’s a point for the comic industry. Often looked upon as literature’s lowbrow cousin, these attempts at adapting famous fiction to comics are always a good boost of energy for the comic world. This is especially true when someone as good as Little does a book as famous as Fear and Loathing. The bottom line is that if you like Hunter S. Thompson you should grab this version before re-reading your old novel, you might just find that it’s even more fun.
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Fear and Loathing in Las Vegas #1 Writer/Artist: Troy Little Publisher: IDW/Top Shelf Price: $3.99 Release Date: 5/25/16 Format: Mini-Series; Print/Digital
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Shipping in July From Scout Comics!
You may notice that when other sites are posting solicits from publishers they don't appear here on Comic Bastards. That's because they take a lot of work to post and like seven of you actually looked at them... okay sometimes twenty of you. But I'm pulling for Scout Comics. They're currently publishing my favorite ongoing comic book series Henchgirl and so I'm more than happy to post their solicits for you to find and hopefully take back to your LCS and say "Give me one of each of these books kind sir." Sure they'll be confused by your manners and wonder why you waited for them to stop eating before you came to the counter, but it's okay. In the end, you get your books pre-ordered for you which will help them continue to be published.
SOLARMAN #2 Written by Joseph Illidge & Brendan Deneen Art by N. Steven Harris Colors by Andrew Dalhouse $3.99, 32 pages
Originally published by Marvel Comics and written by Stan Lee, SOLARMAN returns for this pulse-pounding second issue of the 21st century reboot! Teen hacker Ben Tucker is on the run after being infected by an alien virus and gaining incredible powers as a result. The cops want answers, a secret government organization wants his DNA, and an evil alien cyborg wants blood. This is an issue not to be missed!
ONCE OUR LAND #1 (of 2) Written and drawn by Peter Ricq Full Color $3.99, 40 pages
An amazing debut comic from a visionary new creator! ONCE OUR LAND is a post-apocalyptic tale set in 1830s Germany. It is the tale of two survivors, Ingrid & Fritz, as they battle each day against mysterious invaders that have surfaced and wiped out everything they once knew. A fantasy, sci-fi, period, and action story rolled into one epic package, ONCE OUR LAND is destined to be an all-ages classic!
ELASTICATOR #5 Writer/Creator: A.C. Medina Artist: Kevin Shah Colorist: Ross A. Campbell Full Color $3.99, 32 pages
Elasticator hits Brooklyn in full force and all should tread lightly! With new threats comes retaliation and Brother V has his eyes set on the Elasticator. It’s a time of great change in Brooklyn and everyone is feeling it, but at what cost? You won’t want to miss the latest issue of Elasticator!!
HENCHGIRL #9 Written and illustrated by Kristen Gudsnuk $3.99, 32 pages Full Color
Mary Posa used to hate her job. But maybe being a henchgirl for a supervillain isn't so bad after all. Mary has the freedom to operate beyond the constraints of polite, law-abiding society. She gets free stuff. And when an unforeseen sequence of events puts her parents in danger, Mary might even end up being the hero Crepe City needs. Or not. ...Probably not.
Escape From Jesus Island returns on 6/6/16
The Apocalyptic horror comic, Escape From Jesus Island, returns with its forth installment, “What Lies Beneath,” on June 6. The series, endorsed by horror legend Clive Barker, follows a botched attempt to clone the savior that inadvertently unleashes the Antichrist and hordes of cannibalistic mutant freaks. When the Vatican Black Ops arrive to try to steal the reborn Christ for themselves, all hell breaks loose.
“From the start, bringing our fans into the story has been a big priority for us,” said Escape From Jesus Island writer Shawn French. “And I mean that literally. The majority of the characters in our comic are modeled after our earliest fans and Kickstarter backers. In Episode 4 alone, 29 fans make an appearance.”
For each cameo, fans send artist Mortimer Glum reference photos in various angles and expressions, which he uses to create their comic book counterpart.
The 32-page Episode 4 features 30 pages of panel artwork, which the creators believe is one of the things that sets them apart from the majors. “While most comics seem focused on padding issues so they deliver the least amount of content possible, we do it all wrong,” French said. “Our focus is always on how much story we can cram into each issue… and Episode 4 is packed cover to cover.”
You can pre-order your $3.99 copy of Episode 4 here, or catch up on the series with Episodes 1-4 for $12.99 here.
The ongoing comic book series was originally launched via Kickstarter and will be returning there in June for a new campaign to print a trade paperback of Episodes 1-4. There will be more opportunities for backers to be immortalized in print, including a chance to join the ongoing cast as one of the Antichrist’s most trusted Apostles.
FMI about the comics, check out www.JesusIsland.com
Join the online Jesus Island community at www.facebook.com/jesusisland
Review: The Frog Man Trilogy
I have said this before and I will say it again. I’m not a fan of indie superheroes. There are too many superhero stories out there and so rarely do I give an ounce of fucks to read an indie version of this character or that character. That doesn’t mean that I’m not often surprised by an indie superhero title. This year alone I’ve been surprised a few times which is a nice change of pace. The title made me cringe a little. I mean… Frog Man? It sounds like a child’s superhero. Thankfully, that’s the point. It’s supposed to be goofy and dumb because the world of Frog Man isn’t serious. Frog Man is like a 90s comic book, but a 90s comic book that knows it’s a 90s comic book and so it’s just having a grand ol time. This book is a romp. I actually laughed at a few parts and while there wasn’t anything earth shattering about it, it was an enjoyable read.
The story stars Frog Man, an up and coming hero that pretty much sucks at heroing. His first civilian rescue is the decapitation of a woman’s boyfriend. After that we see his shitty life as a fast food worker and learn his origin which is very Swamp Thing inspired. Frog Man pretty much sucks at what he does, but after growing tired of working for the man he decides to hunt “the man” down and kill him.
The second chapter sees the art improve a lot and a meta joke made about that. Frog Man is mistaken for a frog serial killer that is going around ripping women’s boobies off… the sick fuck. The third volume finds Frog Man in hell after not avenging a squirrel in the second chapter. The squirrel has already gone through hell to come back and fuck with Frog Man. First up he bangs the woman of Frog Man’s dreams…
There’s plenty I’m leaving out of this because spoiling every joke isn’t going to make you want to read it. That and I basically did that on this episode of the CBMFP. The writing is good. It’s not perfect, the dialogue is shaky at times, but overall is put together well and humorous.
The art changes three times because this is an indie book and the writers clearly had to work with other people’s schedules and were able to get better artists as the series went on. The second chapter is by far the best looking even if it’s the weakest of the stories. None of the styles are bad and honestly if they were given more time I could see them improving.
If you’re looking to be entertained by a story that’s aware it’s a comic and full of humor about the industry, the comic itself and just in general then you could do a lot worse than Frog Man. I had low expectations because of the title, but by the time I was done I was happy to have read The Frog Man Trilogy and there’s a strong chance you will be too.
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The Frog Man Trilogy Writers: Mark Lewis, Matt Fitch Artists: Matt Fitch, John Aggs, Gibson Quarter Publisher: Dead Canary Comics Price: £4.99–£9.99 Format: TPB; Print
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Review: Judge Dredd #6
Judge Dredd wakes up in an old timey town, with his full gear on and full of gentlemen who look straight out of a Billy Wilder movie; unfortunately this is less His Girl Friday and more I Bought This Girl Last Friday. Dredd is inside a shared virtual reality with the rest of the Yes-Men and all run by a man who remembers Mega-City One.
Writing is divided here. There are tight moments of story and some dialogue-filled ones. Not unusual for this Judge Dredd run so far but noticeable. There is a lot of social commentary on this issue, from all sides there are allusions and parodies to those on the other side of the argument discussed here. Men wearing fedoras, calling themselves “the nice guys,” and being “Friend Zoned,” using the real life arguments of some to place these characters and unlikeable antagonists is a very effective way to make the Yes-Men into a despicable group and putting Joe Dredd in the right side of the law and equality, #NotAllJudges.
The problem with this approach was that although the social commentary was effective in driving its agenda forward, it did little to move the story, leaving little space for moments that should have had more impact in the story. Big reveals were happening that felt glossed over or should have deserved a bigger panel for the reader to stop for a beat and take it in.
Jesus Redondo takes over the penciling and inking duties on this issue and the difference is notable. Line work is a lot cleaner, easier to follow with busier pages which would have taken two or three looks at the page in order to get the full visuals in earlier issues. Ryan Hill’s colors continue to make for great pages and he is proven adaptable to work with McDaid’s rough and tough styler as well as Redondo’s more traditional one.
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Judge Dredd #6
Writers: Ulises Farinas & Erick Freitas
Artist: Jesus Redondo
Colorist: Ryan Hill
Publisher: IDW Publishing
Price: $3.99
Release Date: 5/25/16
Format: Ongoing; Print/Digital
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Review: Foundations of Chinese Civilization: The Yellow Emperor to the Han Dynasty
I have honestly learned more from comic books than I have from sitting down and reading books. Sure none of it is deep knowledge, it’s mostly factoids and solutions to random life situations, but it’s still knowledge. There’s to teach with comics, but it’s hard. It’s a hard thing to accomplish because people always want to be entertained. If you have no desire to learn about China’s history then you should pass on this book. You have to have some desire to learn about the subject its presenting because there’s nothing here that’s going to hook you unless you just like history in general.
Foundations of Chinese Civilization is a manga style history book. That’s the best way to describe it because it has no narrative, no story to tell. Instead it presents its history lesson in digestible pages that present China’s history.
For me it was an interesting look at China’s history because so much of what I’ve learned has come with a grain of salt. While it’s easy to read, it is quite long. I don’t recommend reading it on sitting because you’ll become numb to the events by the end of the volume. It’s informative and again digestible, but too much of anything is still too much.
The artwork is a nice fit. It’s a bit on the kiddish side, but then I get the impression this is aimed at children. The line work is thick and clean. It supports the writing on the page and in a way is interactive with its presentation.
While I found this first volume to be interesting I don’t know if I’m clamoring for more. I think that has more to do with where I am in my comic reading life than with the material. If I was game for learning more than I would definitely try the next volume. If you’re a teacher this is a great resource. If you have a child that’s interested in history or Asian culture, I would definitely recommend this. But if you’re just a comic reader looking for a strong story and art, then this is not for you.
Score: 3/5
Foundations of Chinese Civilization: The Yellow Emperor to the Han Dynasty Creator: Jing Liu Publisher: Stone Bridge Press Price: $14.95 Format: TPB; Print
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Review: Castlevania V: A Tribute Comic
Sometimes I'm worried I'm jaded.
It's easy as a comic critic, because fuck does a lot of stuff out there seem to suck. And as someone who also creates, I know the work it takes, the monumental art power that has to churn every week into this industry, remembering that quote 'somebody died to create the worst thing you ever saw'. How easy it is for the critic, to stand and dismiss in a few pithy half-baked paragraphs the work of so many. Maybe I am jaded. Maybe nothing satisfies me. Maybe I'm the bad guy.
And then I read something like 'Castlevania V' and think: oh wait, comics can actually be fucking cool and maybe it's comics that aren't 'Castlevania V' that just actually suck.
'Castlevania V' is a fancomic, a loose tribute to the iconic Konami franchise about the eternal struggle of the mortal Belmont family's eternal struggle against that immortal buzzkill Dracula. The comic, which envisions a younger inheritor to the Belmont buttkicking throne, takes a skateboard trip through Dracula castle, thrashing evil with radical 90's Kid flair and sick kickflips, brah.
This comic is only 14 pages of actual art, and it's one of the best indie things I've enjoyed in a while, reading like a dumb 13-year-old kid, jittery from shotgunning too many fistfuls of Gummi Worms. Writer Dave Scheidt doesn't so much tribute the style or story of the 'Castlevania' games but rather what it feels like to play them, which is a weirdly more loving tribute than some meticulous nostalgic reconstruction. The comic's greatest screaming success is artist Sean Mac's linework, rough, psychotic, and surprisingly excellently stylized considering the intentionally hasty looking technique. It's a wicked blast and a lot of artists try and fail to be as off the cuff cool as Mac's art comes across here. Praise is due also to Aaron Pittman's bright and perfectly matched colors, balancing flats and very mild texturing to make the book pop where most would have left Mac's linework stand on its own. Pittman's colors don't just organize the chaos, it enhances it.
Books like this slap my mopey critic face and remind me that whenever reading another shit IDW licensed comic has got me down that some team of nerds with inkstains under their fingernails are doing something cool with paper and pens. Maybe I am jaded, but the only cure for that is reading kickass comics that restore your faith in the medium, even if the story is just some punk fucking up a vampire's day with a holy water filled super soaker. So if you feel the swamp of suck swallowing you down and making you wonder if anyone has unique artistic perspective anymore, join me. I found something cool you should read.
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Castlevania V: A Tribute Comic Writer: Dave Scheidt Artist: Sean Mac Self-Published Price: Pay What You Want
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Review: Bill and Ted Go to Hell #4
The most daring and worried father-types are back and dealing with Napoleon’s holy wrath and their grown children dealing with a sever case of daddy issues. Meanwhile Elizabeth, Joanna Genghis Khan, Billy the Kid, Joan of Arc, Abe Lincoln, and Rufus have to deal with Napoleon’s evil squad. You with me so far? Good. Because this issue is of a most intrepid-yet-faithful nature, reader-dudes! The one thing that was true to source material throughout these four issues was the dialogue, characterization was so easy to differentiate because everyone was the perfect caricature they’ve always been portrayed to be in the films. This comic has been entertaining through and through, borrowing the core elements from its source material and finding new ways to tell a fresh and fun story. The last issue in this series gave showdown after showdown from Bill and Ted’s squad against their counterparts, each one with its own flavor and value.
Bachan annihilated every panel with fantastic action sequences, incredible character reactions and great backgrounds. Lincoln facing John Wilkes Booth with their weapon choices had me chuckling in a crowded NY train during rush hour and not caring. Bill and Ted trying to reach the hearts of their pissed off children is a heartwarming moment which shows the good nature of the two lovable doofus and why they have stood the test of time. It was the combination of his art with Joines’ writing which made BIll and Ted Go To Hell such a smooth read.
If you didn’t pick this title up month to month, you missed out on some great moments to quote back and forward with people, some incredible visuals that stick in your mind as you wait for the next issue. Some fantastic record-searching variant covers, and a great example of how much fun a comic book title can be. But if you’re waiting for the trade to come out, well, that’s okay too!
Until next review. Be excellent to each other.
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Bill and Ted Go to Hell #4 Writer: Brian Joines Artist: Bachan Colorist: Jeremy Lawson Publisher: BOOM! Studios Price: $3.99 Release Date: 5/25/16 Format: Mini-Series; Print/Digital
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Review: Strange Kids Club #5
I have been sitting on this issue since… I don’t even know when. My wife had a kid and I became Mr. Mom and while that doesn’t make it into all my reviews for this one it does because I was kind of new to the Mr. Mom’ing and while I wanted to sit down and read the hell out of Strange Kids Club I never did. Obviously I have now and all I can say is that I want more. I may even want the first four issue to check out and that’s fucking rarity from me.
Strange Kids Club is one half fake magazine and other half real comics. There is a mixture of real ads for nerdy shit throughout the magazine, but then there’s stuff like retro video games that don’t exist. You kinda want them to exist, but they don’t. In a way, it’s a reminder of what made magazines so much fun as a kid. Strange Kids Club is trying to capture that feeling. Because there are generations today that don’t care or want to understand magazines and comics in print form. Because as a kid it wasn’t there only source of info and they don’t have to wait a month for new news on a subject because the internet has made all of that instant. Strange Kids Club or SKC is a throwback to that. It’s a polished, well produced, fantastically written magazine for a generation that’s aged, but still hasn’t grown up.
Now… as for the comics. There’s a few winners. I enjoyed the art for every single one of them. I want to say that first because that’s really important. The artwork is killer here and if I had money I would totally hire any of these artists for a project. On the story side… there were a few too many in the fantasy barbarian genre. That may have been an intentional theme. Thankfully they all told different stories and had different gags, but by the time you get to the last one it’s like okay that might be too many. Also they’re a bit too short. I wanted just one or two more pages of each one to really get the feel for them. As it stands I would definitely return for more, but it was a shame that I couldn’t make up my mind on them with what there was to read.
Again the production on this magazine is great. It’s 100% legit in terms of that. There’s reviews of board games, vintage movies and again ads for products that are real and yet strange. I loved it. Even flipping through it again for this review it put a smile on my face. If you want to check it out head over to StrangeKidsClub.com and keep an eye on Kickstarter for future issues to support. Hopefully Founder and Publisher Rondal Scott III is already working on another issue.
Score: 4/5
Strange Kids Club #5 Publisher: Rondal Scott III Publisher: Strange Kids Club Price: $5.00 Format: Print
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Review: Steven Universe and the Crystal Gems #3
A seemingly malicious crystal specter from Gem mythology is loose on Beach City with no conventional way to stop it and it's up to Steven and his guardians to solve the mystery of this assailant to save the citizens of his coastal home.
Sounds like a pretty standard episode of 'Steven Universe', no? It reads like one too, the tone, pacing, and characterization being very much in line with the successful Cartoon Network program. This third part of a four-part miniseries feels like it could easily be animated into an actual episode to air on television, which interestingly enough is part of the reason I found this comic mildly underwhelming.
The problem is the comic reads like storyboards, which isn't a bad thing inherently, but it is a problem when they are paced so evenly to actual animation time that a twenty-page issue of a four issue miniseries covers the same amount of ground that perhaps three minutes of the television show could have when put in motion. Beginning to end, not a lot happens in this issue and a lot of what is shown feels like it could be compressed in a way that the comic medium is capable of in ways the animation medium is not. It all feels like something that could have been consolidated into a tidy giant-sized annual rather than four financially distinct installments. With licensed comics of existing all-ages properties, creators have the opportunity to tell stories that couldn't be told in the property's home format. With 'Crystal Gems', you get exactly the TV show in comic form, but without the ability to pull something new out of the series lore and not a lot of personal flair.
The art, like the writing, is functional but unmemorable. Intentionally rough and unfinished looking with dirty linework and sketchy colors, its on-model enough to give you the feel of the show but doesn't really do anything interesting with its lack of polish, not lending any individual character to the book.
While I appreciate a lot of Boom's all-ages lines for being some of the better licensed comics from the major publishers, 'Steven Universe and the Crystal Gems' highlights a lot of the reasons I tend to stay away from the miniseries companions to their ongoing titles; asking readers to fork over more money each month for content that often doesn't provide more bang for the buck or stories that benefit or require what should be a highlight format. The miniseries format should be where the property can take some risks aesthetically or narratively, but having worked in a comic shop, I've seen titles like the 'Adventure Time' minis consolidated into one shapeless stack of unsold issues, treated like comic shelf clutter. This comic isn't bad, but with so many titles fighting for shelf space out there, I can't say I blame comic shop owners when these books get lost in the shuffle.
Score: 2/5
Steven Universe and the Crystal Gems #3 Writer: Josceline Fenton Artist: Chrystin Garland Publisher: BOOM!/KaBoom Price: $3.99 Release Date: 5/25/16 Format: Mini-Series; Print/Digital
Review: Jem and the Holograms #15
It's interesting to read Jem and the Holograms as the halfway point between the increasingly hard to define action/adventure sci-fi genre mélange and a slice-of-life comedy/drama comic. Strip away the holographic cyber magic and you've got a mundane story about fame and friendship. If you erase the themes of friendship in the face of adulthood’s growing complexity you get a bland, if flashy looking, music-themed superhero team book. The combination of these factors typically yields the greatest strengths of both and avoids the weaknesses of each. Issue fifteen, though, feels like an awkward intersection where the needs of character development get shoved aside for the needs of plot development. Sophie Campbell’s art continues to be delightful. She brings a lot of energy to even the quietest, most reflective scenes. However, I can't get over how hard it can be to tell these characters apart. The frequent costume and makeup changes -- while dynamic and fun to look at -- don't help maintain a consistent enough look for each individual. It hasn't ruined my reading experience, but it is a persistent enough issue that I feel it warrants a mention. Luckily the writing often pulls in little bits characterization to clear things up in most instances of confusion.
It‘s worth noting there’s a trick Thompson and Campbell try pulling off in the book’s opening moments that I don’t feel works as well as it was conceived to work. It's a problem that I think is unique to this issue. And it is a shame because with some slightly altered layouts, the concept would work just fine as a narrative device. As it is, the chosen perspective is confusing. The scene is meant to grant us a window into the genesis of the arc's villain by recounting one of Jerrica's childhood traumas. The emotional turn doesn't work as well as it could.
What about the rest of the issue? There's a funny bit about the ladies from the Misfits loudly and utterly not handling the weird, zombie-like behavior of the people around them. Kimber shows some amount of competence and self-restraint. Amusingly, Eric Raymond's personal engineer shows up just long enough to put all of the narrative pieces together for the blended Misfits/Holograms group. Just like an engineer, he’s only visible when he’s needed. Also Silica, the dark inverse of Synergy, finally gets some motivation.
Issue fifteen is a weaker installment, one that doesn't feel crucial to the overall Dark Jem plot. Ultimately the whole issue is a lead-up to a big reveal that isn’t given the dramatic weight it deserves. Not a bad issue by any stretch of the imagination, but kind of a weak one.
Score: 3/5
Jem and the Holograms #15 Writer: Kelly Thompson Artist: Sophie Campbell Colorist: M. Victoria Robado Publisher: IDW Publishing Price: $3.99 Release Date: 5/25/16 Format: Ongoing; Print/Digital
Review: Hilda and the Midnight Giant
Luke Pearson’s Hilda series is hands down one of most enjoyable things I’ve discovered in the past year of reading comics. It’s just the right amount of heart, cuteness and strange; combined into something that young and old readers can enjoy. His latest book published by Nobrow is Hilda and the Midnight Giant. Hilda and her mother live in a remote area on their own. They’re so secluded that Hilda’s only friends are best described as mythical. One day they receive a letter from some tiny invisible people that are declaring war against them and asking them to leave. Hilda writes her answer back to them asking them to not be mean and leave them alone. They respond by throwing rocks Hilda's home. Hilda continues her adventure with them, but this is only one part of Hilda’s story.
The other part is the giant in the title. She sees him one night when chasing the invisible little people off. He continues to hide from her though until she finally catches him and gets his story from him. The story lines are connected in a clever way, but the heart of each story is its own. Both have an emotional outcome as they conclude which changes Hilda’s world.
Most people will probably agree that the art is cute as hell. I know that’s not really what an artist of any kind wants to hear, but it is. I was drawn to this series because it looked kid friendly. I stayed because I found that each story had this ping of sadness to it. Which is a great counterbalance to the art. Pearson’s line work is clean and clear. There’s a pleasant style to the series and it could easily be translated into an animation.
As for the coloring, it’s amazing. Pearson crafts a stark contrast between night and day, but he also manages dusk and morning as well. It looks and feels like a day has gone by when reading this book. Even more impressive is the fact that he does it all with flat and muted tones.
Pearson’s writing is what keeps me coming back. Having read a few of his other stories on the Nobrow comic app I was sucked in by the fact that while the outcome is usually fairly happy it’s almost a bit melancholy. Especially in this volume which sees Hilda's entire life change. She wins, but loses. Writing like that I feel is more impressive than just a happy or sad ending because it’s so much closer to reality.
Now if you’re not into stories that are cute, but weird and have a blanket of melancholy wrapped delicately around them, then the Hilda series may not be for you. I tend to read a variety of stories trying to find ones that resonate with me and this volume and this series have done just that.
Score: 5/5
Hilda and the Midnight Giant Creator: Luke Pearson Publisher: Nobrow Press Price: $24.00 Format: Hardcover; Print
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Review: Monstress #6
Maika Halfwolf and company were surrounded by the mysterious Dusk Court last we saw them. This time she finds herself in a chamber of eternal sleep. Designed to keep beings of unimaginable power, and wear them out slowly in their entrapment. The Dark force inside Maika realizes this and digs into her memory to try and find answers as to why is she so hunted, and how can they get out. Elsewhere the Cumaea is preparing an all-out assault on the Dusk Court lead by the Mother Superior herself. The conclusion to the first arc of Montress hits on all fronts.
My biggest fear reading this issue was that in the interest to continue building this wonderful world, some stories would be relegated for later. What I got instead was Marjorie Liu arranging all her players in the same board to collide with each other and close out their immediate goals, all focused around a protagonist who digs deep to find herself in equal footing to the thing that had threatened to take over since it’s awakening.
All the elements of this story are perfectly blended together by Sana Takeda in a boiling cauldron full of stunning visuals, changes from one dream to another, dives into memories, changes from one faction to the next with pages fulls of great battles, and moments that terrified and mesmerized me at the same time. Every big reveal had all the punch it was packing and put internal conflicts onto whether to turn the page or continue to admire that ⅓ splash in front of my eyes for a bit longer. Monstress is the perfect book to pick up for creepy beautiful visuals filled with creatures of fantasy and darkness.
There are still questions left, but Monstress #6 has delivered to drop a strong first arc that will definitely keep me coming back fro more.
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Monstress #6 Writer: Marjorie Liu Artist: Sana Takeda Publisher: Image Comics Price: $3.99 Release Date: 5/25/16 Format: Ongoing; Print/Digital
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