In our media-saturated contemporary world, separating the good from the not so good is fast becoming a task too great for each of us to handle individually. In this section Pulp Fiction Comics' growing army of reviewers tell you, straight up and uncensored, what they thought about what they bought -- comics, graphic novels, movies and more.

Fancy your own review? We probably will too. Click here to go to the submission page.

ABC: A-Z: Greyshirt and Cobweb #1

Writers: Steve Moore and Rick Veitch
Artists: Rick Veitch and Melinda Gebbie
Colours: Jose Villarrubia and Wildstorm FX
Cover Art: Rachel and Terry Dodson
Publisher: America’s Best Comics

Reviewed by Ben Marton

I will be eternally grateful to Alan Moore for one reason above all others: For giving the wonderful gift to readers that is the ‘ABC Universe’. There is no quest for stylistic consistency here; no unspoken assumption that fans are simpletons who will only tolerate one shade on the canvas; one flavour on the spice rack. For the most part figures as disparate and singular as Tom Strong, Splash Brannigan and Promethea remain within their own unique spheres of influence. Their themes are played out with little overlap and few universe-spanning consequences (‘Promethea’ is the notable exception, but with her that is sort of the point). In short, the ABCU remains true to the wilful, anarchic spirit of the pulp hero tradition; it is illogical, lacking in consistency and wonderfully self-contradictory. Because of this, the ‘something for everyone’ mentality is able to persist within a market increasingly dominated by a drive towards homogenization of tone.

Few titles encapsulate the philosophy described above better than the ‘ABC A-Z’; a series of standalone primers which serve as informative synopses of both the major players in Alan Moore’s chaotic ark of science-heroes, hard-boiled avengers and child geniuses and of the unique feel of the world through which each character moves. The mighty Tom Strong and the frighteningly precocious Jack B. Quick have been covered previously, and the current issue concerns itself with two denizens of the more shadowy corners of Moore’s imagination: Greyshirt and Cobweb.

Greyshirt, brainchild of both Mr. Moore and the singular Rick Veitch, has the ‘Spirit’ (pun definitely intended) of Will Eisner stamped indelibly upon him. Nattily dressed, unshakeable and indomitable, this eradicator of crime stalks Indigo City, wielding his gold-tipped cane and glaring out from under his jaunty chapeau like a slightly more sombre Mr. Steed, but it is inevitably Greyshirt’s endless cast of macabre opponents who steal the show, and this story is no exception; a cascade of biographical information is narrated by Doctor Claw, a Joseph Mengele type complete with grey lab smock and fruity Saturday Matinee Nazi accent, assisted none too happily by a legion of fact-finding intelligent gorilla henchmen who are wired together by sparking steel skullcaps. Like the best four-colour villains, dating right back to the heady days of the Ultra-Humanite, Claw is obsessed with his nemesis to the exclusion of all else and his inevitable comeuppance, punctuated by a typically brief appearance of our mysterious hero, hits an EC Comics ‘just desserts’ beat perfectly.

The Cobweb, while sharing Greyshirt’s predilection for shadowy goings-on, is another naughty little game entirely. Hints of lasciviousness and thinly disguised references to exotic sexual practices are certainly nothing new to funnybooks, but somehow Moore (in this case Steve, not Alan) and longtime collaborator Melinda Gebbie make what is essentially a platform for teasing and innuendo tasteful and culturally rich. The Cobweb’s segment is presented for our delectation as a page-a-month calendar. Each image strikes a unique historical and fetishistic tone, accompanied by explanatory text which paints the Cobweb as a Phantom-like figure; a multi-generational persona worn and discarded like a domino mask, the tread of her stilettos echoing down through the decades. The Cobweb even maintains a connection with the aforementioned Indigo City and a tryst with Greyshirt is implied. Yes, this ‘story’ is no more or less than a series of exotic pin-ups, but it is no mean feat to portray yards of flesh bursting free of inches of diaphanous silk and consistently maintain a sense of whimsy and tasteful fun. Melinda Gebbie’s art achieves this beautifully because her portrayals of Indigo’s Midnight Mistress and her ever-faithful Gal Friday (or is it servant?) emphasise feminine sexuality while never reducing their subjects to production-line adolescent fantasy material. I would never be embarrassed to recommend a Cobweb story to any of my women friends.

‘ABC: A-Z’ is a wondrous dip into the rich cornucopia that is Alan Moore’s universe; a tour through the culmination of his take on the superhero milieu which is part metaphysical musing, part respectful fan letter and part rollicking good time. Don’t be fooled by the Dodsons’ oddly smoothed-out, deceptively stock standard cover. What lies within is uncommonly good; wound up and let go by the imagination of a man who knows better than anyone what makes great comics.

Rating: 9 out of 10

Albion #1

Writers: Alan Moore (plot), Leah Moore & John Reppion (script)
Artists: Shane Oakley (pencils), George Freeman (inks)
Cover: Dave Gibbons
Publisher: Wildstorm

Reviewed by The NewFrontiersman

I have either not heard of or do not remember Janus Stark, Grimly Feendish, The Cloak or Captain Hurricane. This may well be Alan Moore's point. 'Albion' #1 opens, as the name implies, with a distinctly other-side-of-the-Atlantic take on that old comics saw: the 'where are they now?' superhero story. It does so with that oh so familiar Moore touch of leaning heavily on the implication that, unlike the America of flouride grins and the thin pastel line of suburbia, Britain has long been a place that finds a special place in its heart for the deformed and monstrous. We need look no further than 'The League Of Extraordinary Gentlemen' or '2000 A.D.' in its heyday to see this.

It is the treading of familiar muddy waters, then, that leeches some of the greasy goodness from this first installment of the ode to the lost world of 'Beano', 'Tiger' and their ilk. We have walked these paths before and the last page revelation that 'here monsters really do dwell' holds little surprise.

The bold angles and matte blacks of the art are very reminiscent of the work of Tony Harris on the rightly hallowed first issues of 'Starman', as are the wonderfully varied and idiosyncratic page layouts, and the primary narrative contrasts beautifully with the evocative inset story, a Janus Stark tale rendered in exquisite linework which recalls Gary Gianni and his recent labour of love, 'Corpus Monstrum'.

The difficulty in reviewing this one, however, lies in the pacing. The tale of one face-in-the-crowd fan and his attempts at connecting with Urban, post-millennium Britain's buried monsters takes its time, winks and flashes its petticoats at us, but whether or not six issues will be sufficient to fully open the casket and take a good long look inside is a question a mere first-issue review with horrendous mixed metaphors cannot really answer. I thought I saw something there when I looked back over my shoulder just then, so I'm willing to stay on a little longer...

Rating: 6 out of 10

Annihilation: Prologue

Writer: Keith Giffen
Artists: Ariel Olivetti & Scott Kolins
Publisher: Marvel

Reviewed by Jess

It must be that time of the year again because it's crossover season at Marvel. Annihilation marks the start of a cosmic size crossover that begins in this issue and continues in no less than five other mini series scheduled to begin in April and beyond. This is a prologue issue which is designed to whet the readers appetite by introducing a threat to the universe we all know and love ,and then to present the heroes who will undoubtedly be called up to save it.

If anyone was interested in reading this crossover and thought this might be a good place to start I'd advise against it. For the life of me I can't work out the plot; there's too many characters and the art of Scott Kolins who's art style worked better when he drew the Flash, makes reading this a headache, and because of that I can't give this book a good rating at all.

You're better off picking up a new independent comic with the money you'd save from getting this- trust me.

1 out of 10

Angel: The Curse #’s 1-4 (of 5)

Writer: Jeff Mariotte
Artist: David Messina
Publisher: IDW Publishing

Reviewed by Jack

If you’re an Angel/Buffy fan and have been wondering whether or not the comicbook adaptations can continue the great ride that the TV shows were, then here is a brief review for you.

Angel: The Curse when compared to the TV show is like being in a car that has been pumped full of carbon monoxide with all the windows sealed shut. In other words, it’s a yawnfest. Unfortunately each issue seems to be exactly the same, barely indistinguishable from the one before it and quite uninteresting. The art looks like an animated TV show that’s been put directly on to the page, and while this look would work for TV it just falls flat and 2 dimensional in book form. What’s seriously lacking is Angel’s team, because Jeff Mariotte has shown that he cannot write a decent story with Angel going it alone.

There’s very little darkness or wit that we’ve come to love and enjoy from this ‘verse, and I really do feel cheated for having given this series a try. With one issue left I feel compelled to buy it just to teach myself a lesson of never going down this road again. If you’re looking to revisit your favorite characters now that they are off the tube, then pick up Spike: Oldtimes (one shot) instead, or even better Joss Whedon’s Fray (Darkhorse) will help scratch that itch. I can hear Chris Franks saying “I told you so” every time I think about this title.

Rating: 2 out of 10

Action Comics #830

Writer: Gail Simone
Penciller: John Byrne
Inkers: Lary Stucker & Nelson
Colourist: Guy Major
Cover by Dan Jurgens & Kevin Nowlan

Reviewed by the NewFrontiersman

It was only a matter of time until I would be called-upon to review a monthly issue starring the greatest character in the history of superhero comics. Given that, in addition to the fact that he stars in one of the longest-running and most venerated titles in the history of the medium, it is something of a source of consternation to me that the best I can say about 'Action Comics' issue 830 is that it is an above-average story with attractive, if somewhat compromised, art.

My first exhalation of relief was prompted by the absence of '(insert marketing ploy here) Tie In!' on the cover. The image depicts the Big Blue Boy Scout madly attempting to launch himself free of a clutching, grasping deranged Metropolitan populace. It could just as easily be a representation of the greatest American folk hero of the twentieth century desperately trying to slip the bonds of crossover purgatory. Oh Kal-El. If only you could. But I digress (and honestly, what did you expect?). The tale concerns the arrival in Metropolis of the diminutive Dr. Psycho, looking for all the world like a stunted Sigmund, fixing all and sundry with his hypnotic glare and sowing the seeds of telepathic chaos wherever he lunges. Metropolis unfolds before him as a giant S-shield souvenir stand; a kind of 'Superest Place on Earth' he feels obliged to poison with his willful icon-trashing, much like a DC Editor. No sooner can we say "redundant character moment" than SuperHubby is awake in bed, ready for action, and...discussing his insecurities with his wife. Reassurances and platitudes later, he is off to save the day, just in time for a 'surprise guest' to arrive and remind already battered and reeling readers that Superman lives in an 'O.C. / 'Desperate Housewives' universe of shadowy conspiracies, heroes with feet of clay and shaking knees; a mode of storytelling which feeds on the scraps of our fear-addled and self-mutilating culture rather than marching to the head of the column.

Gail Simone came to the title, credentials intact, several months ago and she continues to deliver reasonably solid characterisation replete with snappy dialogue, having so far fallen mercifully short of the quip-overload to which many writers seem prone these days. Surprisingly for a female writer, she seems content to relegate Lois Lane to the position of Supportive Wife seeing her husband off to work yet again; a firecracker in times past who now punctuates every storyline with the stock-standard 'if only the rest of the world could love him as much as I do' narration. Proof (if proof were needed) that Superman should not be married.

John Byrne, a man who set the standard for modern comic drafting, remains DC's reliable workhorse, but juggling art chores on three titles he may be stretching himself too thin, as evidenced by the smoothed-out, watered-down and ultimately characterless inking by Stucker and Nelson. Nevertheless, even the most ham-fisted inker could do little to mar graphic storytelling of such bold self-assurance, and to be fair, Nelson has done his (her?) best so far. Mr. Byrne remains one of the only artists capable of rendering the Son of Jor-El as a reflection of the mythical status he has earned, despite the tarnishing he has received at the scabarous hands of Warner Brothers animators and parasitic cultural commentators like those at 'Time' Magazine. Bryan Singer, I hope you are reading this.

Looking back over this review it occurs to me that it veers wildly into polemic motivated by a more general dissatisfaction. I can only defend this by saying that while 'Action Comics' issue 830 held my attention for twenty minutes, it gives the somewhat unnerving impression of treading water while its central figure waits to be plugged back into the latest rancid slice of divisive, melodramatic company-wide nonsense; a crisis indeed. We're in the shallows of mediocrity, but the sea out there is wide and deep, and Superman should swim with broader strokes.

Rating: 6 out of 10

Action Comics #828

Writer: Gail Simone
Artist: John Byrne
Publisher: DC Comics

Reviewed by Jess

This issue, the second in Gail Simone's run on Action Comics ties into Gail's other writing project of the moment, Villains United. Thankfuly though you don't have to read VU in order to understand this story. Dr Neal Emmerson a.k.a super villain Dr Polaris is haunted by a strange female villain that only he can see. Superman must use all of his strength and wits in order to stop the two villains from destroying metropolis.

Gail Simone's writing style on this book differs very much so from her writing on Birds of Prey but doesn't really seem to add much to what we already know about Superman which has been the problem with many writers over the years.Sure we know he's got super strength, sure we know he's the american "boy scout", but I'd like to see Gail's take on Superman's home planet of Krypton personally.

Byrne's art is nice to look at for those of you who can't stand Byrne on a writing gig, you'll be pleased here. My only complaint is that this story apparently had to tie into the Infinite Crisis mini series that seem to be selling faster than Aunt May's wheatcakes right at this moment. Apart from that it does read well as a self contained story and hooks me in for the next issue, which I guess is what it's designed to do.

Rating: 7 out of 10

Action Comics #832

Writers: Dan Abnett & Andy Lanning
Penciller: John Byrne
Inker: Nelson
Colourist: Guy Major
Cover Art: Dan Jurgens & Wayne Faucher
Publisher: DC

Reviewed by Captain Yesterday (A.K.A. The NewFrontiersman)

Memo to DC: When you decide to renew flagging interest in a (in THE) flagship character by announcing a bold new direction with an exciting creative team of fan favourites, try to keep said creative team on board for at least a year, ‘kay? Yes, comicdom is a capricious mistress and a monthly schedule is difficult to maintain, but we are not talking about Warren Ellis, Frank Quitely or Arthur Adams here. From unannounced, under the table writer switch to serious erosion in cover quality, the cracks are starting to show.

This is not to say that the latest issue of ‘Action Comics’ is not a solid, entertaining read; many of the classic elements of the Superman mythos are represented herein. Lois Lane narrates with the spark and spunk we’ve come to expect and Kal-El’s innate and simple goodness shines through, particularly in the issue’s only real standout moment: not only does Superman barely hesitate to save Satanus (yes, you heard right), one of Metropolis’s most irredeemably evil personages, from the Spectre, newly minted as the DC editorial staff’s New Broom; he offers his very soul in place of the people of his beloved city in order to do so. That is Superman to the core, a man of uncomplicated moral choices. The sad aspect of all this on a personal level, however, is that because for the first time in over a decade I have reduced my reading of, hands down, my favourite character to one title a month, I hungrily snatch at small definitive moments like these with no idea how long the trek will be between oases.

Story-wise ‘Action Comics’ issue 832 lists badly to one side, favouring Lois’s Hallows Eve confrontation with the spirit of her father for emotional weight, while the parallel plot of Superman’s aforementioned confrontation with mystical spirits that very same regulation D&S night grows as pale as one of Satanus’s shambling minions. This is not to say that one storyline harbours more potential than the other; Superman’s uneasy relationship with all things mystical has often fuelled powerful stories. The quandary is that we are force-fed at least two issues’ worth of material here; a last gasp clumsy chop and tie-off before Infinite Whole Lotta Nothin’ falls upon the icons of the DCU like the wet, pungent hide of a skinned dog. Didio and his stormtroopers need to clear the decks of any storyline baggage so that Superman, Batman and Wonder Woman can finally put their backs to the wall, blindfolds and cigarettes in place, ready for some real character assassination. Free admission for pensioners and children under twelve.

I have oft commented upon the fact that John Byrne continues to spread himself too thinly; the legacy of being one of the few artists left in the industry with a work ethic, and this leaves his bare-bones pencils at the mercy of Nelson’s stocking over the lens inks, smoothing out any vestiges of Mr. Byrne’s trademark even-ness of tone. Thankfully his art in the pages of both ‘Blood of the Demon’ and ‘Doom Patrol’ remains uncompromised. It is a shame he has not made this particular title more his own. It is not all bad news visually, however. Kudos to Guy Major, whose rich palette and deep infusions of crimson, blue and the Spectre’s trademark bold green earn this issue serious points in the eye-candy stakes.

‘Action Comics’ remains in my Sacred Thirty for another go-around, but Superman, who surely after sixty-seven years of flying the flag deserves DC’s best pit crew, should amount to more than a ten-minute distraction.

Rating: 6 out of 10

All Star Superman #1

Writer: Grant Morrison
Penciller: Frank Quitely
Digital Inks and Colours: Jamie Grant
Publisher: DC Comics

Reviewed by Ben Marton

Disclaimer #1: The following review is full of spoilers. Of course it is. I apologise for this, but I will not point them out beforehand. I would rather my review be read all the way through, or not at all.

Disclaimer #2: The following review is very long. For this I do not apologise. It’s Superman.

This may well be the first time this claim could be successfully made in far too long:

What a time to be a Superman fan.

As I put digit to keys my mind still reels from the aftershocks of Tom De Haven’s exquisite novel ‘It’s Superman!’ And my knees are still weak from a first look at the teaser trailer for Bryan Singer’s ‘Superman Returns’. Over at the birthplace of the greatest hero of all time, meanwhile, a truer spirit of the original character has returned to remind us all of how far we’ve fallen, and, Gods of Marketing and Demographics willing, to take our hand and lift us up once again. I have a wonderful, selfish feeling that a number of people out there with a chance of being heard are beginning (or remembering) to see this gift to the world in red and blue the way I do.

Selfish? You heard right. At heart anyone who dares wear the mantle of ‘fan’ is an egotist, and in my experience comic fans are some of the most unapologetic repeat offenders in this regard. Present company included. We want OUR take on our personal icons, and we want them now. How many times have so many of us begun a phrase with ‘the real…’ (when we mean ‘the way I see…’) or ‘the classic incarnation of …’ (when we mean ‘the way I want to remember…’)? The truth is, the moment we catch ourselves throwing around definitive statements such as these, we have planted the flag of ownership. Colonization successful. A fictional character has become My Precioussss…

Or to put it in a more positive light, we have taken a character into our hearts. I fell in love with Superman a long time ago; Father, Brother, Best Friend and Teacher, Comrade through all my trials and Unreachable Deity that he is. Make no mistake, Dear Reader, I fell in love with the Superman I chose to see, and as only a lover can, I wish more than anything for the world to see him through my eyes; blinded, blurred, twisted and selective though my vision be. Like a loving, constant, jealous, tender fan I remake him in my image every day. I want to know the character because I want to know myself.

Grant Morrison and Frank Quitely want to know him, too. Expectation for ‘All Star Superman’ built slowly, ominously and seismically, like the threat of planetary destruction, but we also knew it could be our rocket out of here. Escape velocity seemed slightly less achievable when ‘All Star Batman & Robin’ clanged like a tin batarang. We clung desperately to those preview pages (oh thank you, Internet…a thousand times thank you) and memorised every line, shade and contour of that cover image. Now it is here. As I turned every page I could hear John Williams’ stirring theme music from 1978. I have it playing as I write this review. Come with me now, as we break the bonds of our Earthly confinement...

>From the magnificently nostalgia-soaked new dawn of the shining cover, art-directed by no less a comics luminary than Chip Kidd, to the ‘egad! What next?’ revelation/cliff-hanger on a final page that arrives all too soon, ‘All Star Superman’ issue one threatens a torrent of hyperbole from this reviewer. I know it will only be twelve bi-monthly issues (from this particular creative team at least). I know Morrison and Quitely have eleven more chances to mess up and I know this series stands outside of ‘regular continuity’, as little as that actually means, but Great Rao! We hung on through the post-Crisis power-down, the Death of Superman, the Death of Clark Kent, the abject horror that was Electric Superman, the Fabio hair and the rather limp ‘Birthright: the official re-telling of Superman’s origin’; a thinly-disguised series of pointless character tweaks and story amputations designed to force Kal-El’s currently published reality into line with ‘Smallville’ the television series, minus the Kryptonian conspiracies and teen angst ballads. We were there, month after month, and this may well be the payoff. Wonder of wonders: a well-written and well-drawn ongoing Superman story.

For the uninitiated (and really, would you have read this far?), ‘All Star Superman’ stands more or less autonomously as an opportunity for creators to tell stories emphasising what they feel to be the mythic essence of the most famous of all American folk heroes, unencumbered by the demands of current goings-on in the DC Universe. Cut loose, Grant Morrison and Frank Quitely are able to do just that: cut loose. Virtually no exposition beyond an extraordinary one page origin re-cap, the scripture told to us in glorious widescreen, hurls us headlong into a scenario which establishes a gloriously ambitious tone: a manned spaceflight to the sun, sabotaged by a cybernetic living weapon, with Superman in hot pursuit. Nothing should work (the crushing gravity should be at incomprehensible levels and not even the tips of Superman’s cape are singed) yet everything does. Not only that, but thanks to the incidental solar super-charging of his otherworldly cells, Superman’s power is boosted to levels never before seen and he gains the potential to develop new abilities. Said not-so-fine tuning comes at a price, however, and you’ll never guess who is responsible for the Faustian trade-off…

Grant Morrison could have pulled any number of postmodern metafictional feats of misdirection in order to plot and script this story, but to his eternal credit he neatly sidesteps storytelling traps previous Superman writers have blundered into, however well-intentioned they may have been. Superman indulges in no first-person narration here, perhaps because Morrison instinctively knows that to allow us access to our protagonist’s innermost thoughts renders him that much less enigmatic. We may identify with many of his struggles, but the core of the mythic hero remains tantalisingly alien. His moments of brooding silence and his curt, self-assured responses to those around him, his easy, guileless charisma and his instinct for command mark him a giant among the small and frail, wholly in touch with his raw, defiant Depression-era origins and the pan-dimensional excesses of his Silver Age incarnation. Morrison understands that now, after decades of ‘accent on the –man’ story angles, it would be sales suicide to begin an epic arc with any less that a statement about what makes Superman super. The flipside of this, of course, is that once we finally see Kal-El in his Clark Kent disguise (you heard me!), he is able to briefly and haltingly articulate his fears about mortality, to the unrequited love of his life, who is not really listening. Cue desperate revelation of the biggest secret in the world, and…curtain!

I am sure this statement has been oft-repeated, but Frank Quitely’s pencils have never looked better. He is as attuned to the modern reader’s demand for detail as he is the necessity for caricature, slewed perspective and ludicrous distortion of the human figure when working within the superhero genre. Superman’s representation as the guardian deity is confirmed by his massive, seemingly immovable and certainly undeniable presence; Quitely’s vision is of a solid, ganite-hewn figure who recalls the barrel-chested might of Wayne Boring’s classic version. He is often seen head bowed, deep in thought, and in profile. Quitely has opted for the slightly shorter, knee-length cape here, which only serves to emphasise Superman’s impressive size, and he is the only artist apart from Tim Sale who seems capable of giving him a bull neck without making him appear thuggish. Equal honour must be conferred upon Jamie Grant, who digitally colours and inks this issue. He sculpts faces and figures with light and subtle tones to bring them forward from their surroundings with all the dynamism of a Max Fleischer animated short.

I realise I am sacrificing my credibility wholesale here, but even as a critic with every intention of providing objectivity and balance I cannot find any real faults with this comic. My two minor quibbles are purely subjective; points where Superman’s actions and my personal philosophy about past handling of the character diverge. The first is his dispatching of the aforementioned genetically modified suicide bomber; more accurately, he allows him to explode. A minor point, you may well argue, since A. there seems no viable alternative at that juncture, and B. the creature in question seems to have only one stated purpose in life, and in any case he wants to die. The second point concerns Clark’s revelation to Lois in the end that he does indeed wear the ‘S’. We are not too far down that road yet, but I do feel that a hero’s story is that much more compelling when there is that one thing he cannot have. This is not Peter Parker; this is Kal-El.

When all is said and done, ‘All Star Superman’ Issue One just plain works. Perhaps I should not have been asked to write this review; when it comes to Superman, I am fan first, cultural commentator second. In many ways he was the first, and he is the greatest. When he has life breathed into him by creators of skill, subtlety, daring, reverence and optimism, joyous readers such as myself may point to him and say ‘that is the way I see him. That is the way I want to remember him’.

So, Jimmy Olsen walks into work with a helmet and a rocket pack. A starry-eyed scientist is inspired to create technology in the name of a brighter future. Lois Lane always writes headlines before they happen and when Superman is told of his possible impending death he is stoic, unmoved. “There’s always a way”, he says.

That missing piece of Superman, gone for so long, seems to be arcing over the horizon with the new dawn, streaking towards us in a brazen bolt of red, blue and gold. The one thing that defines his essence more than any other:

Hope.

Rating: 10 out of 10.

The Amazing Joy Buzzards Vol 2 #1

Writer: Mark Smith
Artist: Dan Hipp
Publisher: Image

Reviewed by Jack

I must admit, I have not read Vol.1 of the AJB yet, but after this issue it will be on my “To Buy” list. I don’t think I’ve ever read a comicbook that mixes so many genres into a single issue: horror/supernatural, spy, rock, motor racing and romance. There’s probably a few more in there that aren’t immediately obvious, but Mark Smith and Dan Hipp do a great job of weaving them altogether and creating a larger than life book. It’s obvious from the inside cover that the creators have a lot of fun in writing this book and want the reader to feel included in that said fun.

This story focuses on a three piece rock band (made up of more than just two dimensional characters we’re so used to seeing on MTV) and their manager who happens to be a covert CIA agent. They are naturally being hounded by a vampire, mummy, an immortal and a Dr. Evil type who want them dead, and find the best way to achieve this is at a motor race in Monaco. There are also evil death rays and some geek love. What more could you ask for?

It may be a little hard to find in the shops right now, but I’m sure it’s easily ordered. It’s a black and white book (couldn’t imagine it in color) with high production values and great art. If you’re looking for something different then search around the web for some more reviews and then order this book. There’s a lot more to this than meets the eye, and besides it’s just so much gorram fun.

Rated 9/10

Amazing Spider-Man #519

Write: J. Michael Straczynski
Artist: Mike Deodato Jr
Publisher: Marvel

Review by Christopher Franks

Recent shakeups in the Spider-Man status quo appear to have delivered a much needed shot in the arm to J. Michael Straczynski's run on Amazing Spider-Man, with this quiet opening issue to a new arc suggesting a return to his early character-based work on the title.

Peter Parker's childhood home has burned to the ground, and while his new residency arrangements in Stark Tower emerge a little too readily -- Tony Stark appears right on cue to make the offer -- they lead into some good character interaction with his new allies in the New Avengers, handled far more believably than in certain other recent Spider-Man issues. The second half is devoted to a lengthy and atmospheric return for a classic Marvel supervillain group, revamped here in the context of the ongoing hot topic of international terrorism. It's let down a little by Deodato's art, which grows rather muddy and vague in the final pages.

Not a great deal happens in this issue, but with Straczynski returning to his strength in character-based writing -- a welcome contrast to the contrived events of recent months -- it sets up a promising new story direction.

Rating: 7/10

Amazing Spiderman #514

Writer: J. Michael Straczynski
Artist: Mike Deodato Jr
Publisher: Marvel

Review by Christopher Franks

The controversial 'Sins Past' arc reaches its finale, not a moment too soon for those who have decried its stunning revelations about the past relationship between two of the series' major characters. While the script is competent, if more than a little melodramatic, it somewhat weakly concludes a story not shy of bold statements with a number of soft choices that benefit the ongoing series more than this segment of it.

The issue opens in medias res with the revelation of Norman Osborn's true plans for his offspring. It demonstrates an excellent grasp of the character's manipulative brilliance and twisted obsession with family and legacy, the clever reification of which in the form of Sarah and Gabriel's 'special' blood has probably passed most readers by amid the relentless revelations and emotional turbulence of this arc. Less impressive is the hurried solution to the genetic taint consuming Sarah, which while providing a nice metaphorical spin on the eternal Spider-Man/Green Goblin conflict makes little practical sense.

In his sixth issue on the title penciller Mike Deodato Jr looks to have grown comfortable in the application of his soft, fluid style to the visual demands of the Spider-Man character, in particular finding a level of detail for the action sequences that does not compromise their visual dynamic. Unfortunately the realism of the linework also highlights the goofiness of the traditional Green Goblin costume, and it is a pity the introduction of a new version of the villain was not accompanied by some variation on a very familiar design.

However implausible its premise, the 'Sins Past' arc continues the tight scripting and strong characterisation that have defined Straczynski's run on the title. It is remarkable how much drama has been extracted from a story in which the two main players, Norman Osborn and Gwen Stacy, have only an indirect presence in the narrative through flashbacks and recordings. This closing issue's adequate but predictable ending sacrifices a real resolution to the themes of this individual storyline in favour of formally introducing two new characters to the broader Spider-Man continuity, each with subtly different connections to the Parker/Osborn/Stacy psychodrama that will hopefully inspire a number of quality stories.

Rating: 6 out of 10

Amazing Spider-man #129 (reprinted in Essential Punisher Volume 1 TP)

Writer: Gerry Conway
Artist: Ross Andru
Publisher: Marvel

Reviewed by Jess

This story marks the very first appearance of that gun toting vigilante that we've all come to know and love. Of course I'm referring to... The Punisher.

In this story, the Punisher is hired to kill Spider-man by a new villain known only as the Jackal. The jackal wishes to take over the crime underworld, seeing Spider-man's elimination as the only way to achieve this. This is a really fun story with lots of action for those of you who love this sort of thing and, admittedly, when i first read this story many years ago i fell in love with the adventures of Spider-man, and am still a follower to this very day.

Rating: 10 out of 10

Amazing Spider-Man #528 "The Other" Conclusion

Writer: J. Michael Stracynski
Artist: Mike Deodato, Jr.
Punlisher: Marvel

Reviewed by Jess

Before the next big Marvel crossover "Civil War" starts, the one that's just ended is 'The Other: Evolve or Die'. To me the only thing that is dying is the Spider-Man titles at the moment and this twelve part crossover that concludes with this issue hasn't helped much at all. This story could have been done in six issues and saved us the problem in some issues of slow pacing, plots being ignored and even some of the awful humour. It's a shame to see the art of Mike Deodato grace this issue for the last time as he now moves on to New Avengers with #17, because he really is one of the most detailed artists you'll find. So at the end of this story Spider-Man has evolved, but I'm waiting personally until this title evolves to a better writer and the only thing that dies are the line wide crossovers that keep coming out. As a Spider-Man fan from way back this just didn't excite me at all, sorry.

Rating: 3 out of 10

The Amazing Spiderman #529

Writer: J. Michael Straczynski
Artist: Ron Garney
Publisher: Marvel

Reviewed by Jack

This issue sees the debut of Spidey’s new costume. It also serves as the first title to lead us into the “Civil War” crossover/saga from Marvel this summer, and it’s the first parter in a three issue story arc.

Who cares? The reason to buy this book is if you’ve been reading “The Other” storyline and have been following all of the criticism of said story on the Internet. Joe Straczynski along with Ron Garney masterfully tears down the fourth wall and addresses you the reader on the fifth page. This is done with great humor, and the only thing missing is Tony and Peter giving the reader the middle finger with a big “F**k you”. It’s the kind of thing that is so rarely done in comics and this creative team does it so deftly that it’s worth the cover price alone. It almost makes all the money I spent on “The Other” storyline worth it.

For those of you who are hardcore Spidey fans, I don’t think there’s a lot to celebrate here. For the overall Marvel fans, it’s a handy glimpse of what’s to come.

6/10 for the entire issue
10/10 for the page mentioned above

Jimbo's Comment: Just read this about an hour ago and that page is gold. Nice, simple payback to all the whiners and whingers!

American Virgin #1

Writer: Steven T. Seagle
Artist: Becky Cloonan
Publisher: Vertigo

Reviewed by Jack

All too often we see a first issue hit the ball out of the park only to be followed up by an average second and third issue. If that’s to be the case here, then I don’t care. Page for page and pound for pound, this is some of the best value for money you’ll find this month in a comic, and the last page will leave you thinking. And by thinking, I mean, “What the hell is going to happen next?”

Steven Seagle introduces us to his protagonist, Adam Chamberlain, a young devout God loving Christian from the bible bashing state of Florida. Seagle gives Adam such an authentic voice that the first few pages had me in hysterics as I recounted meetings I’ve had people just like this. By the mid way point a lot of writers would have exposed Adam as the religious hyprocrite I would expect him to be. Instead Seagle shows us a young man who is genuine in his convictions, and devoted to his religious ideals. With Becky Cloonan on art, Seagle takes us on what literally feels like a ride, ups and downs, bends and curves interspersed with speed and anticipation. Talk about value for money, you’d be hard pressed to find a book that has more weight to it (literary speaking). And just when you think you can see the predictable ending, Adam’s world is turned upside down and you’re left wanting to know exactly what this kid will do next. Where other writers would have taken three issues to set the scene of Adam’s world, and thus give us those all too predictable beats and familiarity, Seagle masterfully does it in one, making the money you just spent all the more worth it.

With the delicious cover by Frank Quietly, and Becky Cloonan’s comforting indie style, this is a book well worth your time and money. And did I mention value for money?

9/10

The American Way #1

Writer: John Ridley
Artist: Georges Jeanty, with Karl Story and Randy Mayor
Publisher: DC Wildstorm

Review by Christopher Franks

Having proved his comics writing chops on the Authority, the last major shakeup of the epic-scale superhero team concept, John Ridley tries his own take with retro-themed limited series The American Way. In the opening set-up issue he establishes a novel reworking of familiar icons and kicks off an engaging (if somewhat text-heavy) narrative of the hands working behind heroes to make them seem so super in the public's eye.

The 1960s setting is used for more than a 'good old days' reference point, with the series' deconstruction of the superhero having ties and thematic parallels to events of the period. Against a backdrop of the Cold War and racial tensions Americans look to the very JLA-esque Civil Defense Corps as an embodiment of the titular commitment to truth and justice, but the government is carefully managing the public's perception of its champions and their campaign to defend the US from foreign threats. The superheroes remain mysterious and are kept at arm's length, with our protagonist a regular white-collar guy who is drawn into what goes on behind closed doors with America's costumed protectors. He does tend to talk a lot, though, with an abundance of narrative captions handling the bulk of the exposition but growing rather tiring. Ridley's contemporary spin on classic concepts is with respect for the source material, and he can't resist obvious nods such as giving the Superman analogue a straight-talking journalist girlfriend.

A layered contribution is made by penciller Georges Jeanty, blending old-school superhero storytelling in the vein of Perez and Byrne with harder-edged rendering in a blocky style slightly reminiscent of Wildstorm golden boy Dustin Nguyen. The relative density of the script is also not a problem, with the visuals moving from tightly packed panels and grids to bold action splashes with ease. While the design of the superheroes is perhaps deliberately derivative, some B-movie fun is had with the giant tentacle monster and raygun-wielding robot critters of the opening alien invasion sequence.

Despite recent moves back to more commercially orientated (i.e. drawn by Jim Lee and imitators) material, Wildstorm remains the publisher of choice for intelligent examinations and variations of the superhero genre. Based on its strong opening issue The American Way could prove another valuable contribution to the field.

Rating: 8/10

Aquaman - Sword Of Atlantis #40
"One Year Later" Begins

Writer: Kurt Busiek
Artist: Jackson Guice
Publisher: DC

Review by Jess

It's one year later in the DC universe and it appears that everything old is new again as a brand new Aquaman appears in a story that tells his origin and sets up the new status quo. New enemies, a new partner, and a new costume debut in this issue written by Kurt Busiek (Astro City, Avengers). Responding to a telepathic call Aquaman finds a human-sized shark in need of some assistance, and meets a strange new ally called the Dweller in the Depths who reveals to him a prophecy that may or may not come to pass. Joining Busiek on this issue as regular artist is penciller Jackson "Butch" Guice, last seen proividing art for Warren Ellis' six-part JLA Classified arc and his style has really improved dramatically here considering a lot of the action is underwater, he really captures the mood well. This was a great start to this new direction and I can only hope that with Busiek and Guice at the helm that things continue to improve.

9 out of 10

Astro City: The Dark Age #1

Writer: Kurt Busiek
Artists: Brent E. Anderson and Alex Sinclair
Cover: Alex Ross
Publisher: Wildstorm

Reviewed by The NewFrontiersman

Kurt Busiek's shining, multi-aesthetic 'Astro City' remains an attractive concept for comic aficionados of 30+; a sort of catch-all avatar for every superhero trope brought to life since 1938 (and possibly even before...). The burgeoning megalopolis boasts its own Superman, Batman and Spiderman riffs (Samaritan, Confessor and Crackerjack or Jack-In-The-Box, depending upon how you see the character, respectively) plus its very own F.F. (that's First Family, by the way) and even some darker, Vertigo-shaded corners.

As the title implies, darkness is what this 16-issue monster(which will be told in 4-issue arcs interspersed with stand-alone specials)is all about. The early seventies, that irrevocable tarnishing of the silver age, is to be chronicled. Bright spandex peeled away to reveal a social conscience. Think the now classic 'The Brave And The Bold' #85 as your starting point. Brent Anderson's flowing pencils with hunched, seemingly boneless human figures even echo the grand master, Neal Adams.

The tale of two troubled, streetwise brothers and the fall of the Silver Agent and the Old Soldier (both, tellingly, Captain America types) plus the rise of the Blue Knight (Punisher, anyone?) is told in staccato pace by a series of switching first-person narratives, and this game of turn and turn again across the thin blue line of the law lends an air of moral questioning and legal ambiguity to the whole affair. The main characters' distaste for the heroes who fly above them is clear, but to Busiek's credit, one never gets the impression this is morose icon-puncturing. Vietnam? The OPEC oil crisis? The recession? Disco? We did all that ourselves. Busiek is bulding to something, and it is a journey I'll gladly take.

The art is a somewhat different story. Brent E. Anderson's style has become progressively (or regressively) more loose over the years. Although his panel composition and dynamic use of cinematic perspective and objective movement remain strong sequential storytelling techniques, his characters' faces appear to be melting. One cannot help the feeling that, in any given headshot, the eyes are racing each other towards the chin. This murky style is in keeping with the tone of the piece, of course, but Anderson's flashback portrayals of The Apollo Eleven and Starfighter come off less successfully, if one assumes they are there for contrast between 'the way things were' and 'the way things are'.

On balance, this is the first intruiging peek into a 'lost' stage in Astro City's history, and is well worth a look.

Rating: 7 out of 10.

Astro City: The Dark Age Book One #2

Writer: Kurt Busiek
Artist: Brent E. Anderson
Colourist: Alex Sinclair
Cover: Alex Ross
Publisher: Wildstorm

Reviewed by the NewFrontiersman

Our journey into the heart of Astro City's troubled times continues and the feel is not so much one of dark shadows, but of shades of grey. As Kurt Busiek moves further towards a final answer to one of his creation's greatest mysteries, namely what is the source of the great shame surrounding the history of the Silver Agent (two parts Captain America, one part Guardian; garnish with the Fighting American and mix thoroughly) we are re-introduced to his Punisher archetype, the relentless Blue Knight. The transition from the oh-so aware seventies to the Eighties of Bernhard Goetz and the Guardian Angels is evoked well as Charles and Royal Williams, troubled brothers occupying distant ends of the social spectrum, struggle to understand the tangled skein of haves, have-nots takers and taken, violent childhood memories and the media creation of an apparent protector of the people turned ruthless assassin. Along the way we are treated to tantalisingly incomplete glimpses of ground-level clashes between spandex-clad gods and monsters; a Busiek staple since his groundbreaking work on 'Marvels'.

While there are some thought-provoking story turns and conceptual musings beckoning, there are some points counting against this series. One is the slightly shaky assertion that, while in the past the 'current' vision of Astro City and its denizens has tended to imply a wonderful eclectic blend of comic periods and styles (a winning 'something for everybody' superhero formula and continuity be damned) Busiek now seems set on reminding us that his labyrinthine creation went through distinct ages roughly equivalent to our 'real' experience of comics as a kind of cultural barometer, each period chronologically demarcated. I may be quibbling somewhat here, but I have always felt the real charm of the series to be its willful intermingling of the likes of The Gentleman (Astro's Captain Marvel), The Hanged Man (who would be very much at home in Sandman-period Vertigo trappings) and Crackerjack (Lee, Ditko and Romita Snr., take a bow) - a defiance of comics in lockstep with the zeitgeist. I found my eye wandering as I sampled issue two because the word 'relevance' kept screaming at me from the page. Toto, this is a little too much like Kansas.

Brent (nice to see the return of the 'E') Anderson's fluid art continues to serve the story well and this time out he has begun to mine Gene Colan territory, with a particularly impressive whole-page rendering of the Blue Knight towards the end, a sky full of cinders drowning the moon behind him. That one image was almost worth the price of admission. Almost.

Rating: 6 out of 10

Astro City: The Dark Age Book One #3

Writer: Kurt Busiek
Artist: Brent E. Anderson
Colour: Alex Sinclair
Cover Artist: Alex Ross
Publisher: Wildstorm

Reviewed by the NewFrontiersman

As the rather fragmented name implies this latest instalment in Kurt Busiek’s street-level meta-metropolitan saga continues no simple story arc. The grimy rub shoulders with the tarnished. The penultimate chapter in the first segment of Astro City’s murkier epoch arrives at the trial of the Silver Agent, long mourned as the title’s disgraced sentinel of justice and part of Busiek's intricate latticework of good and bad and those caught in the crossfire. We know that his is a tale of woe and shame and that he accepts the judgement delivered unto him as if it is well deserved, but why? Why would one of the city’s most beloved champions turn political assassin? Is it simply the twisted zeitgeist of the silver age’s death agonies? Is it mind control? Or (oh please no!) A clone? Busiek reels the reader further in with each issue, mischievously dangling potential solutions before us.

As is the case with previous Astro City tales, however, this may not be the point. The final fate of the Silver Agent, like the briefcase in 'Pulp Fiction' (or 'Ronin', if you prefer a film with class) serves primarily as a fulcrum for more intense character-driven set pieces. 'The Dark Age' is built on divisions; families divide, brothers divide, allegiances, a nation, a cosmos divides. Welcome to 1973; the America of superfreaks, lies and questionable foreign policy. Caught in the middle are Charles and Royal Williams, brothers from the ghetto who have grown along divergent paths from a moment of trauma for which, as it turns out, the Silver Agent is more than a little responsible.

Of course, some may suggest Busiek is mining ground in danger of being played-out: the civilian skittish around heroes. The narration by both protagonists recalls the fear and trepidation of Phil Sheldon from 'Marvels' and on occasion it seems as if Busiek may be a pony of the one-trick variety. He is, of course, more versatile than all that, but a change in perspective may soon be warranted. Speaking of which, an awkward note is struck midway through the issue when we find ourselves bearing witness to a two-page sequence involving an epic clash between the First Family (F.F. Get it?) and a walk-on villain of the week. This sudden contrast between Astro City’s fourth wall dropping bystanderism and straight four-colour hi-jinks is nothing unusual, but here we are jarringly dropped amidst multiple perspectives and full dialogue. One hates to be pedantic, but the issue’s narrators were never there. The point-of-view shift from first person limited to third person omniscient is a ninety-degree turn for which the reader has not been adequately prepared. As a general rule, however, Busiek’s tonal shifts between all-too-human pathos and widescreen colour pops work more often than they don’t.

Brent Anderson’s visual sense of the kinetic married with the chaotic serves the story well, but his tremulous renderings and rubbery figures sometimes hint at what could have been if only the comic were granted more humane scheduling. It is a sufficiently tall order to have to compete with an exquisite Alex Ross cover every month, however, so perhaps I should cut the man some slack.

'Astro City: The Dark Age' retains its place as one of my chosen thirty for another month, but this situation will persist only if Mr. Busiek can provide his loyal audience with anything more profound than the inevitability of human history. I will hang on for another issue in the fervent hope that what has traditionally been one of my favourite titles can rise above the current benchmark of superhero comics: the triumph of the nothing special.

Rating: 6 out of 10

Authority: Revolution #1-4

Writer: Ed Brubaker
Artist: Dustin Nguyen
Publisher: DC/Wildstorm

Reviewed by S.J.Smith

So, it’s the twenty ninth of December. It’s one in the afternoon, I’ve been in town shopping since nine- Start of the post Christmas sales. I’ve spent a healthy chunk of my present money on the clothing my mother insists I need.
I get into Pulp Fiction, dump my bag and ask if Voltron is in. No luck, due in the next day. I cruise around, see a comic title that a few friends have told is a ‘must read’.
“The Authority. That any good?”
Eventually, Peter and Chris convince to buy issue one and two of the twelve part series, “The Authority: Revolution”, under the assurance that I do not need to know anything about the series to read this. Chris even gave me the right to beat him up if this wasn’t the best comic I had ever read.
It was a good bet for Chris. This series, by Ed Brubaker, is probably the best thing to come out American comics in a long time. Going into the series, my grand total of knowledge was that there was a guy called Apollo. That was it.

I now eagerly await part three, a mere forty minutes after buying the first two issues.

The story does not require that you know anything about the series. Unless you’re kind of simple, you should be able pick up the premise of the comic pretty easily. “The Authority” is what X-Men could have been, a story about super human vigilantes who have had enough of humanity’s crap and decided to do something about it all.

As with all series, for me it is the characters and the plot that drew me in. There is no baby talk introduction that shows the reader each character with their personality and ‘powers’ laid bare in plain text, this series is working to a ‘show, don’t tell’ principle that my tutors are always harping on about.

It works. You get drawn in, feeling out the interactions and dynamics of the team. The personalities are very quickly becoming clear, as is the capabilities of the team members, and all without being spoon fed the information as so often happens.

Of course, the very cool artwork doesn’t hurt the situation. The colours are clean and not overstated in most cases, and, miracle upon all miracles, not everyone is handsome or beautiful. Whilst there is a share of eye candy, the common person and even some of the team members are no Adonises.

All in all, I was astounded at the quality of writing that I found in this series. If the rest of it is half as good, I will still be getting it the moment it comes in.

On a down side, I have to admit that the prominent nipples on one of the characters was a bit off putting (gratuitous fan service anyone?) but seems to be in keeping with the character. It’s pretty graphic in its violence, so I wouldn’t be recommending this one for younger readers. The opening scene of a guy getting his head kicked in is a bit disturbing if you’re not used to pictorial violence.

But hey, we are generation MTV allegedly.

Rating: 9 out of 10

 

Avengers #500-503

Writer: Brian Michael Bendis
Artist: David Finch
Publisher: Marvel

Reviewed by Jess

The Scarlet Witch has gone through many ordeals in her life and writer Brian Michael Bendis is prepared to put her through some more in this story that sees the Avengers break up.

After watching her synthzoid husband dismantled, his memory and personality erased and finding out her children to
be figments of her mutant power over the years, it all finally becomes too much for the Scarlet Witch to handle.The Avengers suffer numerous casualties in this story as new and old Avengers alike are put through the wringer... some
even die.

This story is bound to lead into one of the biggest crossovers of 2005: 'The House of M'. Reading through this story brings back nostalgic memories of some of the more classic Avengers stories but it doesn't do much to make me want to go back and re-read this story again.

7 out of 10

All-Star Batman and Robin the Boy Wonder #1

Writer: Frank Miller
Artist: Jim Lee
Publisher: DC

Review by Christopher Franks

On paper it seems foolproof. Frank Miller is the writer of two of the best Batman stories ever, and in his significant body of work has proved himself a master of the sequential art form with a keen understanding of both the mythic nature and internal psychology of the superhero. Fan-favourite artist Jim Lee will never entirely shake the style or
stigma of the excesses of the early 1990s, but his endurance while others from that period have fallen by the wayside can be at least partly attributed to his underappreciated fundamentals in storytelling and composition. With this apparent dream team on board it is all the more surprising that the debut of All-Star Batman, DC's latest revamp of its premier character and franchise, is so poor.

The characteristically gritty Miller writing about Robin does seem an odd fit but he demonstrates a mystifying lack of understanding of the material, instead flying off into bizarre and not at all entertaining self-parody. An implausibly glamorous woman lounging around her apartment in lingerie and high heels may fly in the caricatured noir world of Sin City but is at odds with the general tone of the issue, and seems more an excuse for Lee to work his trademark magic on gratuitous T&A shots. Miller's past work has employed first-person narration to great effect but here it is taken to the point of outright silliness, with almost every event of significance attracting largely specious comments from multiple competing voices. Beyond the hole-ridden and generally poor scripting the differences between regular Batman continuity and this interpretation seem few and incidental, bringing into question the point of the entire exercise.

I like Batman as a character, particularly when written by Miller, and for quite a while have been waiting for an ongoing Batman title based in story rather than whatever continuity mega-event DC is pushing each month. While I knew All-Star Batman couldn't possibly meet my lofty expectations, this first issue suggests the undeniably talented
Miller and Lee have dropped the ball big time.

Rating: 3/10

Year One: Batman/Ras al Ghul #1

Writer: Devin Grayson
Penciller: Paul Gulacy
Publisher: DC

Reviewed by The Magnificent Turtle

Coinciding with the imminent release of Batman Begins to cinemas around the world comes this, the second of two mini-series delving into the origins and histories of the two villains of said film. DC has done this sort of thing in the past, a semi-related tie-in coinciding with the release of a Batman film. DC usually manages to get good writers and good artists for these occasions and usually end up with a great one-off story.

Having said that, YO:B/RaG is, unfortunately, not really worth the effort. There was a reason, I think, as to why DC finally killed Ras off last year in The Death of the Maidens mini-series: he no longer serves any purpose in the Batman universe.

In his prime (whenever Denny O’Neil wrote him) Ras was truly the Batman’s ultimate nemesis. Today he is, or rather was, a caricatured-moustached-hippie-villain that spouts off about how the world is over populated, and how he was simply attempting to be mankind’s great saviour; that without him, all of the world’s problems are Batman’s fault…

Heard it before, kiddies!

The story itself wasn’t bad, it just wasn’t original. And as for the artwork… I think my six-year-old daughter can draw more convincing people! Put simply, the art was substandard for such a high profile “event” book.

Hopefully DC will come to their senses and get Jim Lee to draw the second issue… after all, he seems to be drawing everything else at DC lately.

Rating: 4 out of 10

Batman: Jekyll & Hyde #1

Writer: Paul Jenkins
Artist: Jae Lee
Publisher: DC

Review by Christopher Franks

With DC editorial's current stranglehold on the publisher's major titles keeping them on a cycle of crossovers and continuity-burdened events, special projects such as Batman: Jekyll & Hyde are increasingly the avenues where stories of real weight are told. Similarly, Paul Jenkins and Jae Lee fall slightly short of big name status but consistently produce quality work just outside the spotlight, and continue their fruitful creative partnership here.

A tight script from Jenkins hits the ground running, deploying a number of interesting plot threads and characters while providing an unobtrusive and thoroughly readable introduction to the Two-Face character and his complex relationship with Batman that will be explored in this series. One or two scenes are a little too clipped and the cliffhanger couldn't be more standard, but overall this is quality work from a writer with a good all-round proficiency with the craft. Jae Lee's contribution is that of an experienced artist confident in his abilities and comfortable with his distinctive textured style. Liberal application of shadows and solid blacks enhances the consistently dark atmosphere, and Lee's gothic rendering of Arkham Asylum is more befitting its reputation than the standard medical facility look it has been receiving of late.

Batman: Jekyll & Hyde #1 doesn't promise huge revelations about the past or tie into some Infinite Mega Crisis War thing; it's just a finely crafted issue from two professionals with a well-tuned creative synergy and obvious passion for their work.

Rating: 8/10

Batman:The Man Who Laughs Review #1

Writer: Ed Brubaker
Artist: Doug Mahnke
Publisher: DC

Reviewed by Jess

Ed Brubaker, writer on such titles as Authority:Revolution and Gotham Central, comes up trumps with the one shot examining the first encounter between Batman and the man who would become his greatest enemy,The Joker.

When a series of high profile Gothamites are found dead with grins plastered on their faces, Batman senses the work of a psychotic poisoner. Does this "joker" have connections to a foe Batman had fought months earlier under the name of the Red Hood? Batman must discover if there is a connection before all of Gotham and even Bruce Wayne himself are victims of this maniac.

Brubakers writing is top notch in this one shot and while I haven't been too impressed with what I have seen of Doug Mahnke's art in his regular gig on the monthly Batman series, he manages to redeem himself here by capturing the Joker marvellously.

If ever DC published a new volume of some of the greatest Joker stories, I would cast my vote for this tale to be included.

Rating: 10 out of 10

Batman: The Man Who Laughs Review #2

Writer: Ed Brubaker
Artist: Doug Mahnke
Publisher: DC

Review by Christopher Franks

The Joker is arguably the premier villain in Batman's impressive rogues gallery, and has featured in many classic stories -- the side effect being it's a road well-travelled and travelled well. This prestige format one-shot goes back to the beginning to chronicle the first meeting of the two great adversaries, and while almost flawlessly executed doesn't make much of the opportunity to provide a new take on their relationship.

It's difficult to think of a more appropriate writer for this project than Ed Brubaker, who brings both experience on a number of Bat titles and a proven talent for street-level crime/mystery stories. This story is a little reminiscent of his brilliant series Sleeper in both its prominent first-person narration -- which does occasionally lapse into describing the visuals rather than complementing them -- and its focus on the psychological dynamic between the two main characters, including an aloof and not entirely sympathetic protagonist. It is here, however, that Man Who Laughs falters slightly; the Batman/Joker relationship has been thoroughly explored in 60-odd years of Batman comics, and rather than adding anything new this script is content to reprise established elements such as Batman's involvement in the accident that created the Joker and the parallels between the two characters. It by no means detracts from a highly entertaining story, but with such a strong writer as Brubaker on board it had the potential to go a little further.

Doug Mahnke provides appropriately gritty visuals, with a nice low-tech feel that keeps the characters and settings, rather than whiz-bang technology such as the Batmobile, at the forefront. Particularly impressive is the disturbing portrayal of the Joker, highlighting his nature as physically disfigured rather than just a dude in clown makeup.

The Man Who Laughs is a great 'year one' Batman/Joker story, but disappointingly doesn't take advantage of a rare opportunity to rework and revitalise their enduring but by now rather familiar conflict.

Rating: 8 out of 10

Batman: Legends of the Dark knight #207

Writer: Bruce Jones
Art: Ariel Olivetti
Publisher: DC

Reviewed by Chris the titan freak

Let me be frank with this comic: I was quite disappointed. Unlike the other Batman titles, I found this comic lacking. The usual dramatic hook for Batman titles was anything but gripping. My major concern was the story being told. It was far too outlandish for what I would consider a solid basis for typical Batman mysteries. Although, this story isn’t too far from the mainstream of comics.

Yet this title isn’t a complete loss with beautifully illustrated artwork it’s still worth a look at if you’re a serious Batman fan, or just interested in reading something outside the conventional mainstream.

Rating: 5 out of 10

 

Birds of Prey #92
"One Year Later" Begins

Writer: Gail Simone
Artist: Paolo Sequeira
Inker: Robin Riggs
Publisher: DC

Reviewed by Jess

I've long been a fan of the writings of Gail Simone. She's always been able to make a book fun, but with this new direction 'One Year Later' in the DC universe I'm afraid I'm just lost and confused. Gone from the team is Black Canary, replaced with a new member, but when we catch up with Canary I find myself perplexed as to where she's been prior to this. Maybe it's one of those stories to be told in DC's weekly title 52, but to me it feels like I've walked into a movie and they're only showing the last half of it, and this really doesn't work for me at all. Along with a new direction comes a new artist in the form of Paolo Sequeira who filled in on a few issues already, but now becomes the ongoing artist along with veteran inker Robin Riggs. I'm not sure what to make of Sequeira's art style. At times it looks detailed and lush, and at other times it looks incredibly slapdash. Hopefully things will get better as the series progresses. If not maybe it's not too late to get Joe Bennett back.

Rating: 6 out of 10

Detective Comics #809 + Batman #643

Writers: Andersen Gabrych (Detective) & Bill Willingham (Batman)
Artists: Pete Woods (Detective) & Giuseppe Camuncoli (Batman)
Publisher: DC

Reviewed by Jess

War Games left it's mark on Batman and the inhabitants of Gotham. When Black Mask decided to take over Gotham he left many people dead, people Batman is sworn to protect. In comes Aaron Black who puts the blame squarely in Batman's court for the death of many Gothamites, and the death of his sidekick, Stephanie Brown a.k.a the Spoiler, and who was also Robin for a short time before she died. Black's view is that Spoiler was kidnapped and tortured by Black Mask to get information about Batman's secret identity. What makes things more difficult is there's another Batman prowling the night and when this false Batman encounters the Joker, it's up to the real Batman to find out what's going on.The writing on these books is shared by two writers who contributed to the War Games story. Andersen Gabyrich (Detective Comics) and Bill Willingham (Batman) write the respective parts of this sequel to last year's event, but even two parts in I still can't see much of a point in a sequel to one of the longest (and possibly most boring) crossovers of last year. Artwork in these stories is done by Pete Woods who draws Gabrych's Detective Comics containing the first part to this tale, while former The Intimates artist Giuseppe Camuncoli draws the second part in Batman. I think I prefer Woods' art to Camuncoli's as I can't see Camuncoli's art as right for a Batman title at all. The lack of detail forced me to re-check the issue after reading it as i couldn't work out who was who.To sum up there was no reason I can think of for DC to subject us to another story like War Games. If you liked that then you'll enjoy this sequel; if you avoided War Games then avoid this.

Detective Comics: 6 out of 10
Batman: 4 out of 10

DMZ #1

Writer: Brian Wood
Artists: Riccardo Burchielli & Brian Wood
Publisher: DC Vertigo

Review by Christopher Franks

With its premise of a civil war that has split the formerly United States along regional and potentially ideological lines, and devastating military conflict centred on New York, DMZ seems a timely exploration of a number of political hot topics. This visually shaky and somewhat contrived debut, however, inspires limited confidence in the relatively inexperienced creative team.

My previous exposure to the writing of Brian Wood is limited to a few issues of recent indie buzz book Demo, where I found the artist-turned-writer struggled to articulate some interesting if not entirely original ideas. Here, naturalistic dialogue is overshadowed by predictable and largely familiar plot and character beats, arranged a little too neatly to reach a desired end point where the series can actually get going. In a glaring example, after becoming stranded in the war zone of Manhattan our protagonist is fortuitously stumbled upon by the one kindly stranger in a hostile environment populated by nasty folk who would just kill him and take his stuff. He also faints for an extended period when convenient for the narrative.

Wood's art contribution to this issue is limited to the striking cover and a two-page prelude sequence, and primary illustrator Riccardo Burchielli falls way short of this vision and standard. He liberally copies elements from popular Vertigo artists of the moment, such as Jock's sharp-edged rendering and the dramatic shadows and silhouettes of Eduardo Risso, but without blending them into a cohesive style. Too many panels are also very fussy, with a lot of wobbly linework not amounting to much meaningful detail. Better artists are available.

This is clearly a set-up issue, although the laziness with which Wood handles the task suggests a full 22 pages wasn't the optimum approach. With an artist not demonstrating an ability to meet the demands of the material, I hope this by-the-numbers opening is not indicative of a similar limitation on the part of the writer and the squandering of a concept with much potential.

Rating: 5/10

Batman #635-637

Writer: Judd Winick
Artist: Doug Mahnke
Publisher: DC Comics

Reviewed by Jess

While I have been enjoying Judd Winick's work on Outsiders, I'm afraid his work on this Batman story is far below average. A new villain called the Red Hood has arrived in Gotham and is causing problems not only for Batman, but
also for the Black Mask. Along the way, Batman and Nightwing come up against an "Amazo android" and destroy it easily.

This story is very light on plot and very dull. While the idea to bring back the character of the Red Hood was
interesting, Winick and Mahnke's writing and art completely ruin what could have been a great recurring villain for Batman.

This is not recommended reading at all unless mediocrity is your cup of tea.

Rating: 2 out of 10

Batman: Dark Detective #5

Writer: Steve Englehart
Artist: Marshall Rogers
Publisher: DC

Reviewed by Jess

Picking up from the previous issue where the Joker kidnapped Bruce Wayne's love, Silver St Cloud, she almost gives away the fact that she's hoping to be rescued not by the Joker's political rival Evan Gregory, but by Bruce as Batman. The Joker, picking up on the fact that Silver is hiding something threatens to torture her secret out of her. Meanwhile, Evan Gregory hurries to Bruce's mansion to inform Bruce that Silver has been kidnapped and the two gentlemen must work together, or the woman in their lives will breathe her last breath.

I've already said why you should be reading this book in my review of Dark Detective #4; suffice to say the nostalgia at having Englehart and Rogers back on Batman again has made this book an enjoyable read and I look forward with anticipation to the conclusion.

Rating: 7 out of 10

Batman: Dark Detective #4

Writer: Steve Englehart
Artist: Marshall Rogers
Publisher: DC

Reviewed by Jess

Over 25 years ago Steve Englehart and artist Marshall Rogers collaborated together on a certain caped crusader for their first time handling this character, as seen in the Strange Apparitions TP.

Now the dynamic duo are back, and I don't just mean Englehart and Rogers, I also refer to the return of the Joker and Bruce Wayne's long time (and lost lost) love, Silver St Cloud. In this story Bruce suffering from exposure to the Scarecrow's fear toxin relives a night not long after his parent's murder in which as a child he was in deadly danger from the man of straw himself! Meanwhile the Joker's presidential campaign takes a deadly twist culminating in a last page that will have fans eagerly awaiting the next issue.

If you are a Batman fan and are looking for a story that is self contained and is also a joy to read than look no further than this story.

Rating: 8 out of 10

Batman: Gotham Knights #69

Writer: A.J Lieberman
Artist: Al Barrionuevo
Cover Art: Claudio Castellini

Reviewed by Jess

PFC: We're going to try and include something different, while crude, in the following review. For the ***SPOILER-ISH*** part, just highlight the text, and you'll see it easily... if you would like to, that is.

The identity of Hush is finally revealed in this issue, ***SPOILER-ISH: and it's no big surprise really, which is the most disappointing aspect of this book.***

Thankfully there's a few other interesting plotlines going on, a new Clayface, the mysterious behaviour of Bruce Wayne's butler and the lingering question of whether Alfred is a murderer, all of which will tempt the reader's curiosity. It's always nice for me to see a classic villain such as Clayface make a return, even though it's not any of the previous four who have had that name.

Lieberman has taken the reader on a rollercoaster ride of mystery, action and intrigue so far and it looks like it's not going to end any time soon. The cover by Claudio Castellini is gorgeous, but sadly misleading as we don't see Batman encounter Clayface at all in this book, especialy in a sewer of all places- still, an enjoyable read though.

Rating: 8 out of 10

Batman: Gotham Knights #70

Writer: A.J Lieberman
Artist: Al Barrionuevo
Cover Art: Claudio Castellini
Publisher: DC Comics

Reviewed by Jess

Finally a Batman series that I can enjoy, that has an old school feel, and is not purely made up of dark, depressing stories.

This sound like something that appeals to you? Want a Batman story that's fun? Well pick up this book because it reads very much like the old stories from the 70's and 80's.

Batman in this issue must find out if his butler Alfred really is a killer and if he is, he may have to hand him over to face trial. Throw in Hush and a few Clayfaces and you've got a really cool story in this reviewers opinion.

Rating: 8 out of 10

Batman: Gotham Knights #71

Writer: A.J Lieberman
Artist: Al Barrionuevo
Cover Artist: Claudio Castellini
Publisher: DC

Reviewed by Jess

Batman Vs Hush! The fate of Alfred! The new Clayface! All these things are resolved in this, the final part of this current storyline that sees Batman and Hush collide asBbatman attempts to save the life of his faithful butler Alfred, who is dying.

We see Batman break into Arkham to recover a Clayface who's genetic make up may be Alfred's only salvation. Meanwhile, an arrest warrant is obtained for a murder that it seems Alfred Pennyworth actually commited... but isn't Alfred terminally ill? All is revealed in this story.

Gotham Knights bids farewell to Al Barrionuevo as of the next issue, as the book gets guest artists filling in -I shall miss Al's art and very much hope that he gets put onto a DC book very soon. Former conan cover artist Claudio Castellini provides a bit of a misleading cover to this issue, but since it's so beautiful it's something I can forgive.

With this issue, the mystery of Hush has forever been solved and I for one have never been happier.

Rating: 7 out of 10

Batman #638

Writer: Judd Winick
Artist: Doug Mahnke
Publisher: DC Comics

Reviewed by Jess

They say a picture paints a thousand words, well this cover should have plenty to say.

The new Red Hood's identity is finally revealed and it's not so much of a shock but an annoyance. Batman and Nightwing are on the trail of a hundred pounds of stolen kryptonite and they're not the only ones afterit. New Gotham crime boss Black Mask also wants the kryptonite for his own purposes. I was scathing of Winick's previous three issues in this storyline and this one only just improves, the shock ending obviously designed to keep any readers who haven't already jumped ship onboard. It probably won't match the shock of DC's other big book this week: Countdown to Infinite Crisis but at least Winick gives it a try.

Rating: 5/10

Batman: Legends Of The Dark Knight #200

Writers: Eddie Campbell and Daren White
Artist: Bart Sears
Publisher: DC

Reviewed by Jess

After the excellent 3 part story preceeeding this (written by Will Pfieffer and drawn by Chris Weston), Legends of the Dark Knight celebrates its 200th issue with unfortunately a rather ordinary story written by Eddie Campbell.

The Joker has planted 3 bombs in Gotham and with two already detonated only he knows where the third one is- but the Joker has inhaled his own deadly nerve gas and Batman must save his life in order to save the city.

I'm not overly familiar with Campbell's work and maybe he's written better than this, but this story is all over the place. It doesn't stay in present time for long and that can be distracting to a reader. Plus the fact that we're only ever told of the big plot points (like how the Joker came to be in hospital) in flashback which really doesn't work for me. I'm sorry, but for an anniversary issue this feels more like a memorium than a celebration.

Rating: 4 out of 10

Batman Legend of the Dark Knight #’s 201 & 202

Writer: Christos N. Gage
Artist: Ron Wagner
Publisher: DC

Reviewed by Jack

Simple but effective. That’s the best way to describe the current story arc in Legends.

It feels like a long time since I saw an effective detective story in a Bat title, one that is interesting and convincingly incorporates Batman’s allies to aid him in “solving the crime”.