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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

Age of Bronze #25

Writer/Artist: Eric Shanower

Publisher: Image

Reviewed by Adam White

The Achaeans dispatch an embassy to make a token effort at averting the war with Troy . In the court of King Priam, Menelaus encounters his estranged wife Helen for the first time since she left Sparta .

As an example of the comic storyteller's art AGE OF BRONZE is exemplary. Eric Shanower has delivered a finely crafted work which effortlessly interprets the Trojan War epic not as an impenetrable ballad, but a compelling drama that appeals to the modern reader's sensibilities. This issue may struggle to engage anyone jumping on now who's not familiar with the original story, but there's no denying the proficiency with which it is constructed.

It's heavy with politics, but in this case the political is essentially, and deeply, personal. Regardless of who is King of where, anyone can relate to the themes of love, pride, decision, betrayal and loss at the core of the tragedy of Helen of Troy. There's no fighting to speak of, the action in this issue is delivered in the form of debate, introspection and personal confrontation. It's very talky, but never tedious or slow moving.

The flawless black and white art reflects Shanower's dedication to his subject. Everything is inked with the thinnest lines possible and a minimum of hatching, producing a highly-detailed, but clean and beautifully Classical impression. Every character has a unique and consistent look. The brothers Hector and Paris, for example, have virtually identical facial structures, while their expressions reflect their opposite personalities. There is nothing redundant here; every moment compels the story forward. Volumes of meaning are communicated in single panels, as wordless portraits – featuring a turn of the head or twist of the lips – depict characters' nature or intent. Powerful emotions are expressed, without resorting to caricature or sappiness. The result is excellent storytelling, working the comic medium to its best possible effect.

You can't go past the Classics for a good story, and AGE OF BRONZE is a-near perfect expression of that story.

Rating 9 out of 10

Alien Pig Farm 3000 #1

Writers: Todd Farmer, Steve Niles & Thomas Jane
Artist: Don Marquez
Publisher: Image Comics

Reviewed by Adam White

I get a weird sense of déjà vu regarding ALIEN PIG FARM 3000, it seems like something I remember from a long time ago. Reading it didn't really change that feeling, as if it were an independent comic from the 1980s (it's not quite raunchy enough for the 1970s). The story breaks down in a series of basic chunks, which aim to set the stage for a clash of Kentucky pig farmers against evil aliens from outer space.

The opening section of the issue is a bit flat. It tells a long-winded and not particularly engaging backstory, where the explosion that killed the dinosaurs resulted from a battle between two alien spaceships, one of which remains preserved underground in Horton County , Kentucky . Then it's on with the Dukes of Hazzard fun, complete with car chases, ingenious escapes, daring stunts, redneck foolery, and yellow-bellied deputies. In typical fashion, our heroes are a pair of brothers, Elvis the dumb one, and Johnny Ray the responsible one, with a pick up truck and legal troubles. Throw in their sexy sister Cindy and crazy old coot of a father and there's enough grist to get the sci-fi horror mill started. This chunk of the comic is goofy and shameless, with plenty of recycled clichés about moonshine stills and hot brother-sisterly love. The story doesn't move much past introductory phase until the very end, with a nice juicy monster reveal.

Don Marquez provides some striking art with a slightly cartoony style that perfectly complements the redneck setting. Panels in some scenes, including the space battle and car chases, seemed too crowded and static, and didn't convey enough action. Others, such as Elvis's impromptu motorbike stunt and discovery of the wrecked spaceship, are exciting and dynamic.

There's a strange disorder about APF3K, with the lopsided pacing and old-school art and characters. The involvement of three writers is probably a contributing factor to the story's unevenness, and quirks like the painfully overwrought narrative captions. There's plenty of potential for the series to improve and develop, considering the talent involved. There's a real sense of fun underpinning the story and some engaging character moments, making it a more likeable comic. With enough introductory elements established and a bit of plot development that promises some gnarly horror to come, Alien Pig Farm 3000 #1 is an enjoyable bubble-gum comic in the B-grade horror tradition.

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!

Amazing Spider-Man #546

Writer: Dan Slott
Artist: Steve McNiven
Publisher: Marvel Comics

Reviewed by Jess Sowerby

When I was a kid of about 6 years old, my very first comic was a Spider-Man reprint. It had Spider-Man being unmasked by the Green Goblin and ever since that day I was hooked. I would always enjoy reading Spider-Man comics and while I didn't keep reading from the age of 6, I did catch up with a lot of back issues a lot later on. I remained loyal to the character all throughout events such as the Clone Saga of the 90s (which I actually enjoyed), through the whole re-numbering/relaunch (the Byrne/Mackie era remains one of my favourite Spider-Man runs) and then when J. Michael Stracynski came on I was willing to give it a chance but unfortunately the love I had for this character was beginning to come to a head. This just wasn't the character I grew up with.The stories he was writing weren't just any fun for me and so I began to distance myself from the character whilst still picking up the issues to see what was going on.

After reading this first issue of a bold new status quo for Spidey subtitled 'Brand New Day' I felt the love for that character actually begin to return. While I can understand some fans' frustrations over what's been changed and the questions they might have (especially ones about Harry Osborn... what's up with that?!), Dan Slott has crafted a very fun story basically getting back to (for me) the reason why Spider-Man comics were such fun. There's old supporting characters returning, new ones are being introduced and for once even the new villains look like being a piece of coolness. I am once again excited about the direction that Spider-Man is headed and look forward to what future stories have in store.

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

Army @ Love #1
Writer: Rick Veitch
Artists: Rick Veitch, Gary Erskine and Jose Villarrubia
Publisher: DC / Vertigo

For mature readers – sex scenes, language & nudity. Violence doesn't count, all comics have that.

Reviewed by Adam White

ARMY @ LOVE sets out to do for the Occupation of Iraq what MASH did for the Vietnam War. It's a slick, sophisticated and over-sexed take on the “fighting abroad, shopping at home” paradigm that defines post-Industrial warfare, but incorporates so many fictionalised elements it threatens to become divorced from the real world it tries to comment on.

Rather than write about the US Army as it really exists today, with the myriad of logistic and cultural challenges that confront it, Veitch has invented a fictionalised Army by extrapolating current trends, thrown in a few novel ideas, and set his story “three years in the future” in the undisclosed location of Afbaghistan. Declining morale and increasing demands have lead to a radical new approach to discipline in the National Guard, where soldiers flit between active duty and home leave on a frequent basis, conduct mobile phone calls with their loved ones from the front line and participate in officially sanctioned orgies for R&R. It's a great playground for ideas but almost seems more like sci-fi than social commentary.

Of course, sci-fi can still be social commentary, and there's a plenty of potential in this setup, particularly the “home and away” aspect. All the soldiers in an NG unit appear to come from the same small American town, and the way they interact with their families, and the effect the war has on those sent to fight and those who stay behind, provides plenty of grist for the mill. The sex scandal mill that is, as back-stabbing bed hoppers on both sides of the Atlantic attempt to play off against each other. The thrills of sex and violence, especially if combined into one mission, are the driving motivation for the Americans at war. The Afbaghis, at least in this issue, don't do much except serve as an enemy to kill, which is probably how foreign soldiers tend to see local populations anyway.

The comic makes a good attempt at tearing away the cheap veneer of respectability that coats society, revealing a glimpse of the sickness, manipulation and egotism that lies beneath.

The art has a clean, simple style, conventionally bold with bright garish colour that highlights the unreality of combat experience. It calls up impressions of patriotic war comics where valour, not horror, is the order of the day, providing a subtle but effective juxtaposition that enhances the surrealistic script. Vietch's command of facial expression, ability to convey emotion and cinematic layout effects underline the fear, machismo and lust driving the characters' stories.

 

Rating 7 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

Batman #655

Writer: Grant Morrison
Artist: Andy Kubert
Colourist: Dave Stewart
Publisher: DC

Reviewed by Ben Marton

Now that the horrendous cacophony that was ‘Infinite Crisis’ has begun to fade into mere discordant echoes, it seems that DC’s flagship super-titles can return to some semblance of their former selves, their protagonists far from better for the experience but at least (and thank the merciful heavens for small favours) not very much worse. Indeed, it should be noted that the ‘Wonder Woman’ re-start, the last few issues of ‘Superman’ and ‘Action Comics’, and now ‘Batman’, have made significant gains in terms of quality.

However, don’t be fooled. This improvement has nothing whatsoever to do with the events of any recent Crisis, and everything to do with a re-shuffle of creative teams, pure and simple. ‘Infinite Crisis’ added absolutely nothing significant to the rich tapestry of DC Universe history and robbed it of much of its wonder, but at least now we can appreciate the fact that it is over. Back to quality comics. Rant ends.

The story, tellingly titled ‘Batman & Son’, begins with a hyper-kinetic plunge into insane action; a rain-lashed, wonderfully garish tableau straight out of the Neal Adams playbook. Commissioner Gordon has been poisoned; his face transformed into a pained rictus. The Joker hunches over the prone, beaten form of Batman: a nightmare of harlequin predation. He is clad in the traditional purple blazer and stovepipes, as is only fitting in Morrison and Kubert’s ‘back to basics’ approach, and isn’t that the old Joker-‘copter behind him?

Yes, a grand scheme has been partially foiled and a cliff-hanger reached, but four pages in this dream of the once and future Batman lurches to a halt with a squealing of post-modern brakes faster than you can say ‘edgy new era’ as one of the more reprehensible and, let’s face it, stupid moments of ‘Infinite Crisis’ is evoked (it turns out I had some rant left after all!)

At this point in my reading despair loomed, but it was quickly assuaged. This is a story by Grant Morrison, remember? That dear old Scottish raconteur, part comics archaeologist and part spanner in the works, has rarely steered me wrong. One can almost glimpse him between the panels, winking knowingly at the reader as once again he cuts a wide berth around editorial edicts and deftly steers through the razor-sharp and unforgiving reef of retro-active continuity to deliver safely unto us that great prize: the pure essence of what makes a character work in the first place. In short, and perhaps to labour the nautical metaphor, Grant Morrison knows when to rock the boat just a little, when to hoist sail and let the wind take him, and most importantly, when to paddle furiously against the tide.

Little need be said, plot wise, about the remainder of the issue, as I am sure it will be read in sufficient numbers to have the bean counters dusting off the top spot on the sales podium for the foreseeable future, but highlights include a hospital bed meditation upon the finer points of black humour, timely advice from a Robin grown just that little bit older and wiser, a scene of blackmail and the threat of torture far more chilling for what is implied than for what is seen, and what I consider this issue’s crowning achievement as well as its quietest and most intimate moment: two beautifully rendered pages of incidental discussion between Bruce Wayne and his butler Alfred, who ascends to the position of mentor, acting coach and Father. Wayne may be the man of stone and ice, but there is something endearing about seeing him fleetingly become the awkward thespian; the lost boy who needs help with his bowtie. It is a moment of dignity, an oasis of quietude in the maelstrom of The Batman’s troubled life, suffused with patience and love.

Artist and writer clearly know each others’ rhythms here, and it shows in the issue’s seamless merging of plotting, dialogue and visuals. The closing scenes of the episode feature Bruce Wayne and Alfred at a charity pop art show, the Lichtenstein-inspired canvasses above them occasionally echoing their thoughts and motivations; a deliciously meta-fictional reference to two of the comic medium’s strongest contributions to narrative: the sound effect and the thought bubble. Elsewhere, a transitional shift between locations and from protagonist to antagonist is achieved elegantly by the composition of one scene echoing that of the other, much in the same way that cinema often engages in what is known as ‘suture’ (for a more consistent display of this technique, the reader is encouraged to seek out the deservedly classic Batman tale, ‘The Killing Joke’; nearly every scene change employs suture in that story).

Andy Kubert, take a bow. Your rich character detail (how many superhero comics can lay claim to representing people that actually look like they are made out of flesh?), your nuanced inks and cinematic layouts do your heritage proud. I fear that I shall wear this issue’s pages through, so strong is the temptation to flip back for a second look at certain panels.

Ladies and Gentlemen, making his way back into the Benster’s Chosen Thirty for the first time since an ill-advised earthquake hit Gotham, and scorning poor interpretations, shaken foundations, and mediocre movie adaptations, I give you…the real Batman!

Rating: 10 out of 10

Batman and the Mad Monk #1

Writer & Artist: Matt Wagner
Colourist: Dave Stewart
Publisher: DC

Reviewed by Luke Hooft

Writer-Artist Matt Wagner's last Bat-related project was the six issue miniseries "Batman and the Monster Men", a re-telling of one of the very earliest Batman stories. Now comes "Batman and the Mad Monk" another story based on a Golden Age Batman tale, which was first printed in issues #31 and #32 of Detective comics. Matt Wagner's nicely painted cover is even an homage to the cover of Detective #31, with a mist-shrouded Batman looming larger than life over a craggy Eastern European landscape, featuring a classic spooky castle and the titular Mad Monk.

Setting Batman tales in the formative stages of his career seems to be very popular, with Jeph Loeb's "The Long Halloween" and "Dark Victory", and Ed Brubaker's "The Man Who Laughs" being set shortly after Frank Miller's "Year One". Wagner's story is no different, being set in a Gotham where there is no bat-signal, Jim Gordon is not yet Commissioner, The Joker has not yet appeared after the Red Hood's plunge into a chemical vat, and Batman does not yet wear armour under his trademark grey longjohns - though a scratch from Catwoman's poison-tipped claws in the opening scene prompts Batman to consider the idea.

After the opening battle with Catwoman, Batman is called by Gordon (by a bat-pager rather than the famous signal light) to the rooftop of Gotham Police Headquarters to find Gordon in combat with three corrupt cops - Gordon still has a lot of enemies in Gotham's corrupt law enforcement system - and they're about to get the better of him. After putting the 3 cops out of commission (and a a bit of classic "scaring the bejeezus out of a bad guy by dangling him off a multi-story building" action), Batman discovers the reason for Gordon's call - a pair of bodies found suspiciously drained of blood!

The last scene in the issue cuts to a nightclub, where we find Eastern-European goth-lady Dala who obviously has nefarious intentions toward an unnamed young lady, and seems to be in the service of a mysterious master.

Yes, like the 1940s story this is based on, "The Mad Monk" is a vampire story, and while Batman has often faced more realistically grounded villains, or science fiction influenced ones, his horror-inspired persona (surely Bob Kane and Bill Finger drew more than a little inspiration from Dracula when they created Batman?) makes him an ideal character to go up against the more supernatural creatures of the night. However, as of the end of issue one, it's not yet clear whether the vampires we'll see in this story really are supernatural, or of a more mundane nature - vampire wannabes, if you will.

The presence in this issue of Bruce's girlfriend Julie Madison, who as Bruce's fiancee played a large part in the original 1940s Mad Monk story, means she's likely to play a similar role in this modern update.

Wagner's protrayal of the Batman and other regular characters, in both his writing and art, is almost spot-on, and his somewhat cartoony style with its strong linework and liberal use of blacks is, if not exactly real horror-comic material, well suited to depicting Batman and his world. He draws a nice-looking Batman too, one who's appearance is not a million miles from the Animated Series version(s) designed by Bruce Timm, if not quite in such a simplified style. His Batman is both a dynamic, swashbuckling action hero and a grim, brooding figure of intimidation. His action scenes are well layed out, easy to follow and excitingly rendered, showing Batman at his maximum level of badassitude. Dave Stewart's colours bring a slightly painted look that enhances rather than detracts from Wagner's inks, with a thoughtful use of different colour pallettes in different scenes.

Where Wagner goes from here will depend on how closely he sticks to the original story, but issue one has got me eager to see what comes next.

Rating: 8 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

The Boys #1

Writer: Garth Ennis
Artwork: Darick Robertson
Publisher: Wildstorm

Reviewed by Ash Castle

Garth, Garth, Garth, here's yet another review by yours truly. Being a long time "Punisher" fan for many years it is only recently that I've become a fully-fledged Ennis fan after buying, reading and enjoying all nine trades of "Preacher", co created by Garth Ennis and Steve Dillon, I'm pretty much addicted. What better timing for the release of "The Boys", co-created by Ennis and Darick Robertson, which Ennis proclaims will "out Preacher Preacher".

You would be easily forgiven for thinking this was another Punisher MAX title and not actually a Wildstorm title as there are many similarities between them. Both comics feature at times graphic violence, sex and profanities. As well as male lead characters that prefer to wear black clothing and thrive on sadistic violence. While old Frank never ever smiles and never really enjoys his work at all; the maiming, torture, impalement, amputation, blunt force trauma, etc, for him its just routine, whereas Billy Butcher really seems to enjoy what he does. One look at his trademark smirk and the macho alpha-male bravado attitude that spills of the page and you really get the idea that this isn't a job but more akin to foreplay.

So who are 'The Boys' and what do they do? Well it deals with the old chestnut that is at the nucleus of the comic book industry itself, superheros. The Golden Age Marvel had the super heroes that were good but were troubled whereas the DC pantheon were square jawed and a little too perfect. Cut to now and DC has embraced the troubled approach but superheroes in either camp are pretty much nice guys. But since when are they perfect and who makes sure they are really all they are cracked up to be?

I draw your attention to two previous works by Ennis in a similar vein, the first being DC's "The Hitman". Tommy Monaghan a hitman that only goes after "bad" people until he is attacked by an alien and gains the abilities of telepathy and x-ray vision where he then goes after "bad" super humans. Secondly, Ennis's "Punisher" one-shot, "The Punisher kills the Marvel Universe" where Frank's family are not killed by criminals but by Superheros in the heat of battle, where innocent civilians are just collateral damage, nothing more, nothing less. Needless to say Frank starts hunting down the spandex clad brigade like its going out of fashion and the story has one hell of closer, read it if you already haven't and if you can find it.

Now we have Mark Millars Marvel creation and instant classic "Civil War" where a battle between super heroes and super villains ends in the death of hundreds of innocent civilians, accidentally killed by the good guys, causing the government to call for a "Mutant Registration Act", whoops I mean, the "Super Hero Registration Act"; where superheros need to disclose their secret identities, weakness, etc. There have of course been other comics dealing with killing Superheros namely Marvels "What If's" has done quite a few of these over the years.

The very first page of The Boys is either going to make you laugh or cry, its just that good or bad, lets just say it earns the "Suggested For Mature Readers" warning on the cover in fine Tarantino red fashion, as well as other pages too. After a brief introduction to Billy Butcher and his lovable bulldog Terror, we get to jump cut between him and Wee Hughie, real name Hugh Campbell, where we get to witness him before, during and after and encounter with a Superhero where he comes off second best, changing his life forever, inevitably leading him to cross paths with Butcher and join The Boys.

So who exactly are The Boys, the two mentioned above and the yet to be revealed, aside from the cover, The Frenchman, The Female and The Man called Mothers Milk. They are soon to be reinstated second iteration of a black ops C.I.A. squad that deals with superheros, including everything from surveillance through to termination. As this is a first issue, much like a pilot episode for television, there is a lot of information that is eluded to, which helps to hook you into the story, these being; what exactly happened to Billy's predecessor, ending with the disbanding of first team and why do Billy and the other original members hate superheros so much, etc? A personal highlight of mine in the issue is the love/hate relationship between Billy and his boss Susan L. Raynor.

Now for the artwork, the cover by Darick Robertson and Tony Avina is from the implied point of view of a possibly soon to be a dead superhero, with the five members of The Boys staring down at them menacingly, which perfectly sets the tone of the comic that follows. Darick Robertson's artwork has a nice clean, crisp look to it, the people drawn have a semi-realistic quality to them that I enjoy and the panelling varies from the standard to inventive here and there without being over the top about it. This seems to be another hand in glove pairing of Ennis and Robertson, similar to the "Preacher" Ennis and Dillon combo.

Overall this is a comic that I'm already hooked on, but as I stated in my very first comic review I'm a biased reviewer and I don't usually get into or buy superhero comics, unless it's a Punisher or Blade crossover. Perhaps you do read and collect superhero comics and you might find this to be funny too, or not? If you got into "Preacher", "Punisher" or Ennis in general then it's pretty much a given and this is a must have for your collection. This series is set to go for around sixty issues and plans to take on and punish variations of many the icons Marvel/DC hold so dear, so for you dark souls out there strap yourselves in for the comic of the year.

4 out of 5 ex-super hero skulls

The Boys #7

Writer: Garth Ennis
Artist: Darick Robertson
Publisher: Dynamite

Suggested for mature readers

Reviewed by Adam White

It's not hard to see why DC Comics President Paul Levitz found this comic unsuitable for publication by his company. The infamously popular series hits close to the bone in this issue, when Wee Hughie and the Boys investigate a murder on behalf of a reclusive comic book industry legend.

A good superhero satire has to work in some reference to the comic world. THE BOYS low tackles the business with the tale of a disgruntled miserly old comic publisher holed up in a basement with his collection and regrets. Beyond that the creators can't keep their hands off the superhero crowd, a malicious bunch of degenerates who need the most despicable liars around to front their wholesome comic book images. It's a deeply offensive depiction of comic publishers, creators and fans.

Garth Ennis's trademark humour is served up thick and fast, and there's a reasonable amount of decent plot development too. If you're looking for good, clean fun you're reading the wrong comic. There's plenty of jokes about Batman, Iron Man, Nightwing, Vision, Stan Lee, gays, queers, homos, pooftas, dykes and fags. Oh and a hamster. You just know where that's been. About half the pages in the issue have some kind of bluntly homophobic humour. It seems to be a recurring theme in Mr Ennis's body of work.

Everyone loves an anti-hero and characters and themes don't get much more anti-heric than in the Boys.

Rating 7 out of 10

Buffy the Vampire Slayer #1

Writer: Joss Whedon
Art: Georges Jeanty, Andy Owens, Dave Stewart
Publisher: Dark Horse

Reviewed by Adam White

With the coming of this eagerly-anticipated issue, Buffy the Vampire Slayer officially crosses-over from being a TV character to a comic book character. Sure there have been Buffy comics published in the past, but these were always derivative works, with no closer association with the core product than a BATTLESTAR GALACTICA or C.S.I. comic. This issue represents the beginning of the new era of Buffy – the official continuation of the franchise that ended its TV run in 2003. And what better way to kick off “Season 8” than an opening 4-part story by the man who started it all, Buffy creator Joss Whedon?

It's difficult to over-state the excitement a dedicated Buffy fan will get from reading this comic. Not only is it the only official continuation of the Slayer's adventures, it is also the best official continuation of the Slayer's adventures. Right from the beginning we are dropped head first back into the familiar world of Whedon's Buffyverse, with all associated stylings. All the character's voices are spot-on, and that Whedon style pop-culture-centric off-the-cuff dialogue is present where you would expect it, without becoming too daggy or overbearing. There's no denying this is the real Buffy the Vampire Slayer in all its whimsical glory, presented clearly and effectively in the comics medium. The use of “internal monologue”, for instance, was never considered in the TV series but fits perfectly here, in the familiar form of narrative captions. Effective use of conventions such as the Last Page Reveal, and the compression of multiple plot-threads and scenes into a single 24-page issue, demonstrate Whedon's hard-earned comic book credentials and prove that he brings much more than Star Power to the title. The choice of writer is no gimmick, but a stroke of editorial genius that also happens to make a great marketing angle. For once, the results live up to the hype.

Newcomers to the Buffyverse, or readers to whom the TV show never appealed, probably needn't bother with this comic. There's no concession to ignorance of the characters or their roles, which is made especially daunting by the fact that this is the first chapter of a new stage of Buffy Summers' life, the Post-Sunnydale era. The relatively simple premise of the classic TV series could probably be picked up in an episode, at least during the first five years or so, but at this point in “Season 8”, a solid understanding of what has come before really is necessary to make any sense of what is coming up. More effort is spent explaining away a joke from an episode Angel (“Buffy's dating the Immortal”) than bringing new readers into the fold. Not committing space to exposition or recaps means a richer more focussed experience for the hard-core fan, at the expense of accessibility to others. The notion seems to be that Buffy has a big enough fanbase to justify this approach, and market response so far appears to support this.

The plot of the opening arc all starts here. After a rather perfunctory action sequence dispenses with the obligatory demon killing, numerous new mysteries and revelations are presented. Some of these are central to the core plot, while others deal more with the characters' individual challenges and needs. Many more questions are raised than answered, ensuring the intrigued reader will come back for another look next month. In some ways the peripheral concerns are more compelling than the mainline story, as these seem to have the more potential for development beyond the standard “a threat arises” plot which is inherent in any adventure serial. We know that there will always be a villain, and ultimately the heroes will overcome it, but other, more ambiguous, threads provide the potential for genuine character development, and a complex story in which good does not always prevail to the extent it would like to.

The likenesses of the characters lifted from the TV series are recognisable, without resorting to style-breaking slavish photo-references. Georges Jeanty does a good job of balancing his own artistic approach with the need to represent an established look. The title character's face does come off a bit odd at times, although it feels as if the panels where she is supposed to look most like Sarah Michelle Geller are less effective than the ones where she isn't. There's plenty of potential here for Jeanty to establish his own take on the characters as the series progresses. Beyond that particular concern, common to all comics based on live action, he demonstrates a strong visual storytelling ability, with good use of cinematic devices, page breaks and splash pages. In the fight scene, movement and weight are depicted effectively, keeping the action fluid and engaging.

For fans, this comic will seem like the welcome return of an old friend from a long absence with many new tales to tell. The stagnation that began to plague the TV series and lead to the earth-shattering crisis of the final season appears to be behind us now, and the stage is set for a bold new era of fresh adventures, drawing selectively on the established continuity, to begin.

Rating 8 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”. The story centres on a cold case that gets dredged up by a reporter who implicates Thomas Wayne – Bruce’s father as the murderer from ages past. Even though this is the hook designed to pull in readers, it’s not as contrived as it sounds, and it certainly isn’t dwelled on by our protagonist. Instead Gage takes the reader through a flowing narrative that has the Bat attempting to solve the cold case. The story here is un-complicated, yet not silly or boring, and it makes you wonder why other writers have not been able to write Batman in a similar way. The art here also is not trying to break the internet in half, but simply conveying the story in an easy yet compelling way.

If you’ve stayed away from Bat titles in recent years because you’re sick of crap (re: Lapham’s run on Detective), and the last thing you want to do is feed the machine that is One Year Later, then I encourage you to add this title to your pull list and have a read. Finding both issues won’t be a problem and I think you’ll be pleasantly surprised.

Simple but effective.

8/10

(I’m not too sure where this title fits into the regular Batman continuity; maybe Jess can help me out there?)

CF says:

Except when being used to support crossovers, Legends of the Dark Knight generally presents stories set in the first few years of Batman's career.

Jess says:

I think "legends" has it's own continuity which is seperate from the other titles.

CF says:

Although many of its stories operate in isolation Legends of the Dark Knight is not in a separate continuity as elements from it have reappeared in other Bat/DC titles, e.g. the stimulant drug Venom from LotDK's 'Venom' arc (#16-20) returned with the character of Bane.

Batman: Journey Into Knight #2

Writer: Andrew Helfer
Artist: Tan Eng Huat
Colourist: David Baron
Publisher: DC

Reviewed by Jack

Up until recently I would have happily bought any Batman comic being produced, regardless of quality, simply because they were stories about the Bat.

Journey into Knight #1 changed that for me.

A deadly disease has come to Gotham and at the end of the first issue, our hero – Batman - had contracted the disease and was fighting for his life. In this second chapter Andrew Helfer takes us back in time, ten minutes back in time to be precise and shows us the means by which the disease arrives in Gotham. The first five pages are devoted to “it’s” arrival, and Helfer does a solid job of not only planting the story to come in a solid foundation, but also introducing the disease carrier as the antagonist. We are shown just how deadly and lethal the virus is, leaving little doubts in the readers mind as to the challenge that faces Batman.
It’s a nice intro to this issue, and in the following pages we see the best use of colours as the book picks up where it left off in Issue #1.

Bruce Wayne is in the throes of fighting the disease, and as is normal for our hero, this struggle takes on an internal dream like sequence where Bruce is confronting his inner demons. Even though we've seen it a million times in so many different variations, Bruce’s inner demons are of course the death of his parents and the question as to whether or not he's made the right career choice. The writing here although hardly unfamiliar ground for a Batman reader is well done and doesn’t hold back any punches.

This story is being described as a Batman Year 1 1/2, and Tan Eng Huat is definitely trying to recreate that grittiness from Frank Miller with his artwork here. Unfortunately he doesn't pull it off, and blame I think goes to the entire art team on this book. Not only does Huat draw some really goofy facial expressions which are very annoying, making me think of Frank Quietly with about 12 pints under his belt, but the colours often come across as too one dimensional which only helps to highlight the sub standard art. As is often the case, the cover of this book is the best stuff Huat has done on either issue, and I can't help but think if that quality had been kept up throughout all 22 pages I would be more encouraged to buy Issue #3. But then it might be a $3.50 book instead of a $2.50.

The script and layout keeps the two story lines chugging along nicely, and I think that as far as script goes this is more of the knockout issue than #1 was, but near the end Helfer feels desperate to have our hero and antagonist meet, and all of a sudden there’s a building on fire thanks to a little guy with a flame thrower (maybe we’ll learn about him next issue but right now the character felt a little too random/convenient) and this puts Batman and the disease carrier in the same place at the same time. This story thread was so thin it was anorexic (to borrow a phrase from and 80's buddy movie) and the obligatory saving a young boy from a burning building is getting so old I'm starting to wish we'd just see the kid save Batman instead (although I think that's been done a lot already as well). And even though watching the kids’ parents bite it felt momentarily unexpected, I realised that all it did was leave us with another orphaned boy. No wonder Gotham has such a crime problem.

In many ways the plot feels a little too big for our young Batman to handle, especially when he looks the way he does thanks to the Huat, but the plot itself is a decent one, something that I would have liked to have maybe seen in the Gotham Central monthly title instead. And not to harp on it, but it's hard to recognise Bruce as either himself or as Batman in this title, it's almost like we're watching impersonator pretending to be Bruce Wayne and then Batman once the cowl is on. But then again I'm not used to seeing Bruce Wayne looking so young, and so green behind the ear, so it might just be me.

Overall, it's a much better issue than the first one, and now that I've read it I am curious to see what happens, but when it comes to opening up the wallet and forking out the money for it I think I'll pass.

Verdict: 5/10

Batman And The Monster Men #2

Writer/Artist: Matt Wagner
Publisher: DC

Reviewed by Jess

Matt Wagner who's artwork has graced many a DC cover in the last few years steps up to the plate with this first of two Batman mini series he both writes and draws.

In this story set in the early days of Batman's career, Professor Hugo Strange (who is hoping to elevate mankind) has genetically engineered a group of 'Monster Men', but the once scientist has now become meglomaniac and Batman is yet unaware of the danger which threatens his city.

I've not been a keen follower of Wagner's writing before. I had read his graphic novel which featured Superman, Batman and Wonder Woman titled Trinity, and thought it was fairly average at best .In this story so far he has captured my interest and has me eager to see whether this story will be something exceptional, or just another dud.

7 out of 10

Batman:Secrets #1

Writer/Artist: Sam Kieth
Colourist: Alex Sinclair
Publisher: DC

Reviewed by Jess

The role that the media has in society has long been a debatable subject. We know that their job is to report the news, even when that news may embarass or shame us.

A picture is worth a thousand words indeed, but when an observer captures a photo which apears to show Batman threatening the Joker, the tables are turned and Batman now appears to be the villain, while the Joker plans his next move designed to destroy Batman's reputation even further.

In this first part of a five issue story written by Sam Kieth (The Maxx), Batman's long time enemy the Joker appears to have reformed. But when Batman is asked to meet with the Joker, and finds a hostage situation instead, things really get nasty.

Sam Kieth provides some really beautiful artwork in this book, coupled with the colours of Alex Sinclair this is a partnership that I hope to see more of. If you're a lapsed Batman fan who's looking to read something that's accessible and also fun to read, then try some of the other Batman mini series that are out at the moment (like Batman & The Monster Men) and Batman: Secrets- hopefully you'll enjoy them as much as I am.

9 out of 10

Bite Club: Vampire Crime Unit #1

Writer: Howard Chaykin & David Tischmann
Artist: David Hahn
Publisher: Vertigo

Reviewed by Jack

Missing your monthly dose of crime fiction mixed with the supernatural that Gotham Central used to provide? Then look no further. Maybe.

Vampires and sex. They go hand in hand, and where so many movies and TV series flirt around the issue, V.C.U. goes straight for the jugular and doesn’t let up, even to the point of becoming a little infantile: “And thank God for the full bloom [of flowers] otherwise everybody’d see the tent Risa pitched in my pants.” But Porky’s dialogue aside, the sex, nudity and profane language add a sense of darkness and dread that a good vampire story needs, (something that the Angel books at IDW severely lack) especially one set in sunny Miami.

This follow up to (last year's?) Bite Club is sporting the same creative team but instead have opted to take a different direction, specifically noir and crime fiction. But this change has not changed the tone, and again it's a real page turner.

The familiar feel of this book makes it an easy read to jump onto, and even though the characters may have different names, they look and talk the same as one’s we have recently seen over at DC, making it an enjoyable read, albeit a more adult one.

Rating: 7/10

Blood of the Demon #7

Writers: John Byrne (plot), Will Pfeifer (script)
Pencils: John Byrne
Inks: Nekros
Colours: Pat Brosseau
Publisher: D.C.

Reviewed by The NewFrontiersman

John Byrne's strong presence in the D.C.U. continues. The (more-or-less) straight superheroics of 'Doom Patrol', currently his strongest title, are complemented by his ever-reliable pencil work on 'Action Comics' as well as this, the more 'adult' of the triumvirate.

When a re-launch of a Demon title was set in motion Mr. Byrne seemed a natural to take the helm as, with the possible exception of Walt Simonson, he is one of the few writer/artists still working with the ability to marry epic fantasy narrative with art which serves the story (rather than the current norm, which is the reverse), thus staying true to the spirit of Jack Kirby's creations.

'Blood of the Demon' blends dark sorcery with capes and tights while managing somehow simultaneously to zero in on the plight of the very human protagonists caught in-between. Issue seven sees the return of Jason Blood's old friend Harry Matthews, bearing what may or may not be the dessicated body of that wizard of wizards, Merlin. This story device provides John Byrne with the opportunity to indulge one of his primary obsessions: the manipulation of time. Personally I was counting the issues until we would see a classic Byrne time travel tale, and ruminations on the non-linear nature of Merlin's life span coupled with the occasional reminder of Jason Blood's near-immortality bring us tantalisingly close.

More immediate although somewhat less interesting is the cover story; the Spectre, rendered 'evil' at the behest of some arbitrary crossover folderol and manipulated by what has to be the bustiest incarnation of Eclipso yet, spends a good deal of time viciously torturing the physical form of Etrigan, who has been violently wrenched from his human host, causing Blood to age prematurely (well, actually post-maturely). Confused? Don't be. It's all part of the rich tapestry designed to manufacture a large-scale threat and graft it onto perfectly servicable storylines so you will buy more limited series. Byrne shows himself to be more compelling as a storyteller by doing what he does best: cutting away to a seemingly unrelated plot issue by issue so an overlap and therefore a continuity (that's with a small 'c') of story is felt rather than an episodic pre-packaging of trade paperback material.

It would be remiss of me not to offer a warning regarding the violence. Although 'Blood of the Demon' does not carry a 'mature readers' warning, the sequence wherein Etrigan's demon form is gleefully torn limb from limb by the Spectre will certainly be confronting for younger readers so discretion is advised when recommending this comic.

John Byrne brings forward planning and experience to his plotting and is ably assisted by Will Pfeifer's tight, compelling script. The art is built upon pencilled figures which are textbook examples of sequential storytelling yet maintain a fluid, controlled line which elevates them, on occasion, to the stature of aesthetic beauty. Through 'Nekros' Mr. byrne maintains his tradition of working with single-named inkers, although in this case the embellishments are far less obtrusive than the rather heavy-handedness of 'Nelson' over at 'Action'. A standout is Alex Bleyaert, who brings a startling array of hues to the colour palette and enriches this world of Lovecraftian gloom and psychadelic mayhem.

All in all, 'Blood of the Demon', despite the ignominiousness of being consigned to a universe which is strangling itself with short-term hucksterism and 'wouldn't it be cool if' moments, remains that most rare of creatures, the class act.

Rating: 8 out of 10

Blood Of The Demon #13
"One Year Later" Begins

Writer: Will Pfiefer
Art & Plot: John Byrne
Publisher: DC

Review by Jess

I will warn people who read my reviews before I begin that this may be seen as a biased review simply because I am a huge John Byrne fan and have been for many years. I review this title at a point where it is one year later in the DC universe and we find that Etrigan, the Demon, is becoming more difficult to control. And what's the answer behind a second Etrigan who is held captive by a being calling himself the Lord of the Damned. DC's weekly series 52, due out in May, looks to answer any questions as to what has happened in the past year. This book will not reveal any details of that and instead provides a fun and intriguing new take on one of DC's more devlish characters. At the risk of sounding biased, I absolutely loved this issue and look forward to reading more as the months progress.

9 out of 10

Breach #2

Writer: Bob Harras
Artist: Marcos Martin
Publisher: DC

Reviewed by Jess

Bob Harras, former editor of Marvel in the mid to late 1990's comes back to writing comics with an intriguing series.

When an army project designed to breach dimensions goes horribly wrong, Major Zanetti gains great powers and
ceases to become human anymore. Meanwhile another mysterious explosion happens in the Limpopo province in Africa changing herdsman Jacob Kekana into a super powered being appearing to be able to travel between dimensions.

This book will unfortunately get lost in the wave of new books coming out from DC but Iwould recommend it very highly as it is a fantastic idea brought to life.

Rating: 9 out of 10

Breach #4

Writer: Bob Harras
Artist: Marcos Martin
Publisher: DC Comics

Reviewed by Jess

After Mac's encounter with terrorist group Kobra last issue, the Justice League step in to investigate the mysterious source of a great power. Meanwhile issue #2's villain the Herdsman returns with a vengeance.

Former 90s Marvel editor in chief Bob Harras is doing a pretty good job on this book and new talent Marcos Martin I expect to see a lot more of in the years to come.

My only criticism is that four issues in it's a little slow but hopefully this will improve in the months to come.

Rating: 8/10

Breach #7 & #8

Writer: Bob Harras
Artist: Marcos Martin
Publisher: DC

Former Marvel editor-in-chief Bob Harras comes to DC with a new superhero for the ages. A shame that DC had to tie it in to their "Infinite Crisis" miniseries. Harras handles it well, bringing Ra's ah Guhl's daughter Talia into the picture. Keen to test Breach's power, she sends a genetically created monster after him. But Breach's containment suit - which keeps his power under control - has been destroyed and what's worse is his power is getting stronger. I must admit I had high hopes for this series in the beginning, but as the months have gone on my enthusiasm for this book has waned. Probably because the pacing by Harras is extremely slow.Too many characters have been introduced with only a few being explored. Even an interesting villain in the Herdsman - who breach battled back in #2 - is wasted as he has been consigned to the background ever since. Marcos Martin is a new name to me, having worked on covers for Green Arrow before. This I believe is his first job on interior art and my belief is this guy has the potential to become a breakthrough artist if he continues to draw more than just the occasional cover. I give this a low score because of the pacing - if that improves soon then so does my score.

5 out of 10

Birds of Prey #84

Writer: Gail Simone
Penciller: Joe Bennett
Publisher: DC

Reviewed by Sue Dunim

Having vaguely agreed that I’d write something for this site several times, I have been benignly pushed into actually acting on my promises this holidays. I may even provide more regular content from now on, so I’ll start this article with a general greeting.

Hello. I’m going to be reviewing Birds of Prey #84. Nice to meet you all.

I’ll be honest; I am a regular reader of this title, which should lead you to the completely correct conclusion that I do like it enough to pay regular money for it. I don’t buy it because I have any great love of the main characters, however. I do quite like Oracle, but Black Canary tends to irritate me, and I have to admit that I’ve never liked Huntress much at all. Why would I buy something about characters that I’m so apathetic about? I can sum this up in two words: Gail Simone.

I am, at heart, a follower of characters, not writers, so the fact that I read this book almost entirely for the writer is no faint praise. I’m not claiming Simone’s the best writer on the planet. What I am saying is that she writes in a way that is humorous (something that is undervalued in comics nowadays) and interesting, and that, most importantly of all, her characters act human. They act much in the way that you’d expect them to act if they lived the type of lives that they live. They are real, three-dimensional individuals with strengths and flaws, and they react and adapt to their experiences. It’s damn refreshing to see that in the world of iconic, never-changing superheroes, and it’s damn interesting to read.

Now that I’ve pointed that out, I’ll be a bit less positive and say that issue #84 is not a great place to start reading this title. Not only is it in the middle of a fairly long storyline, it’s also the culmination of several sub-plots that have been simmering for some time. It does provide enough information for new readers to generally get the idea of what’s happening, but you’re likely to be more than a little lost.

For previous readers, this is a good, steady chapter in the ongoing story. The book is divided about equally between Huntress’s ongoing battle in Gotham, and Oracle, Canary and Zinda Blake’s battle with a far less tangible foe. It also begins to bring the two plots together in an intriguing manner. There are several guest stars from other parts of the DCU, and several subtle references to other DC titles, but it’s only enough to make you curious, rather than frustrated. The main plots are interesting, though I have to say that I am not too sure how the more down-to-earth ‘bring down the drug bosses’ story gels with the increasingly fantastic ‘what’s controlling Oracle’ story. I’ve always found that combining the mundane with the more fantastic aspects of the DCU does tend to show up the whole ‘but why doesn’t *insert random obscenely powerful hero* just make it go away, if he’s so damn good’ aspect. It’s not a terrible flaw, however, and it’s something that is rather unavoidable in a shared universe with such diverse power levels, so I’m not all that fussed.

As usual, the characterisation is very strong. Oracle and Huntress are especially well done, and the guest characters are consistent. I’m a little disappointed that we don’t get to see more of Huntress interacting with her ‘agents’, but that’s probably because I’m a fan of Savant and Creote. I do tend to like supporting characters who are borderline mental.

In all, this was nice and consistent. Nothing world shattering in the way of events, just an interesting story with good characterisation. Personally? I think we need more of that kind of thing at the moment.

Rating: 8/10

Buckaroo Banzai #1 of 3

Story: Mac Rauch
Adapted by: Joe Gentile
Art: Stephen Thompson, Keith Williams and Ken Wolak
Created by: Mac Rauch and W.D. Richter

Reviewed by Adam White

A visitor from the past put Team Banzai on the trail of Lord Worfin, a villainous alien from Planet X. Worfin makes his way to Burma to propose an allegiance with the World Crime League. Meanwhile, the normally implacable Dr Banzai is troubled by personal demons that may be more real than imaginary.

Buckaroo Banzai... it's the latest issue! After a hiatus of 22 years, Buckaroo and his loyal crew are finally back where they belong - in comic books. Who is Buckaroo Banzai? Don't expect this revival issue to explain, there’s not so much as a recap page. Instead, as is normal in the case of Dr. Banzai's adventures, expect to be dropped straight into the action, as if picking up a story already in progress, about characters you already know. Buckaroo Banzai is a rock 'n roll sci-fi pulp hero, a modern day Renaissance Man of action - part doctor, scientist, rock star, engineer, daredevil, crime fighter, adventurer, cowboy, philanthropist, martial artist.

Now that the long awaited comic - adapted from the rejected Fox TV script - has arrived. The question is, is it any good?

The story is 100% authentic Buckaroo madness, reflecting Mac Rauch's uniquely bizarre take on the character and his world. The issue is short and sharp, setting up an interesting story. The pace is like that of any long-running ongoing series - no time to sit around and explain the characters and their relationships, but a quick recap of relevant points from old adventures is included when required. This is an appealing gimmick for die hard fans and shouldn't represent any more of a barrier to entry than any other ongoing comic to the uninitiated. Some elements of the dialogue don't hang together well, however, with seemingly innocuous remarks from one character resulting in emotional responses from another, for example. Perhaps it read better in a TV script form but did not translate as well to the comic medium? Once the evil John Worfin takes the stage, however, the script is pure gold. An over the top scene from this absurdist mega-villain makes the issue and provides a nice hook to come back for the next one.

The art by is good but not brilliant. At times it seems to obstruct the story telling, with details being de-emphasized by panel placement and so on. But there are other times "shots" are composed well, such as the brief scene in the jet car hangar. One of the main requirements of the artists has been to render the characters as the "original cast" of the 1984 ADVENTURES OF BUCKAROO BANZAI movie, and this has mostly been accomplished well. Although the finished Dr. Banzai is somewhat freakish, and bares little resemblance to his Hollywood alter-ego Peter Weller. That man's likeness is apparently too hard to capture.

Disappointingly, this issue's production and "additional material" from Moonstone Books seems poorly planned and executed. Compared to an earlier preview edition, the art on the opening pages has been shrunk, and does not return to full size until over half-way through. There are a few issues with word balloons and panel separation as well. Some very poorly written caption boxes have been added, and a few areas where a sound effect could have come in handy are silent. The use of full bleed colour backgrounds on every page was nice, it's just a pity there were such large gaps needing to be filled.

Overall, there’s little for card-carrying Blue Blaze Irregulars (you know who you are) to complain about here - Buckaroo Banzai is back, be happy. For the rest of the world, this mini-series may seem like dense and indulgent nonsense, but it offers the potential for a fun, pulpy adventure ride, an off-the-wall tale of heroes and villains, set amidst a playground of politics, science-fiction and rock 'n roll. Just hope the production standards improve.

For the fans: 8 out of 10
For the curious: 6 out of 10

Bullet Points TP

Writer: J. Michael Straczynski
Artist: Tommy Lee Edwards
Publisher: Marvel Comics

Reviewed by Henry Nicholls

A comment on the back of the ‘Bullet Points' TP claims it's “Destined to be the Marvels of the new millennium!” This is a mighty big call; ‘Marvels' did something unprecedented by taking a look at the world of superheroes from the eyes of an ordinary man, and was written with a great deal of heart and sophistication. ‘Bullet Points' may have ambitions to tread the same path, but is a much more prosaic concept.

This is one of those ‘What If?' stories that looks at how the world of Marvel Comics might have been changed had something gone differently. In this case, writer Straczynski explores the consequences of a single bullet taking out the creator of the one-and-only super-soldier serum that would have turned Steve Rogers into the iconic Captain America. With this option lost, and the U.S. desperate for an edge over the Axis powers in World War II, the army goes for their last resort: placing Rogers in an experimental suit of high-tech armour, known as the Iron Man project.

But the effect of that one bullet goes further. It also kills a young military policeman named Ben Parker, leaving his orphaned nephew Peter, many years later, without a positive male role model. As a result, Peter gets into all sorts of trouble, including stealing a car and wandering onto a military testing site when a gamma bomb goes off. At first he seems fine, but you don't want to get him angry. You wouldn't like him when he's angry.

And so on. Basically, Straczynski chops and changes the Marvel roster, coming up with ways various characters are shunted onto new paths by changes in circumstance. Interesting as it is, you wonder what the point is. At first it looks like ‘Bullet Points' is constructing a more believable version of the Marvel universe, but when characters like the Norse god Thor are referenced as unchanged that idea goes out the window. It feels more like the conversation a couple of devoted fans might start up to while away some time. However, the characters do ring true to their origins while reacting credibly to their new roles, especially Peter as a still decent but frustrated boy-turned-Hulk.

Edwards artwork is highly stylised, and does sometimes come across as somewhat crude. On close-up shots of the characters it's quite effective for conveying emotions; for action sequences it comes across a little flat.

The climax, where a classic Marvel villain shows up in a world no longer able to defeat him, is the best thing in the story, and ends things on an emotionally satisfying notes. Still, this is not a classic on the level of ‘Marvels'; it's an interesting side-note.

Rating: 6 out of 10.

Captain America #2

Writer: Ed Brubaker
Artists: Steve Epting & Michael Lark
Publisher: Marvel

Reviewed by Jess

This story picks up immediately after the cliffhanger of the previous issue, where the Red Skull was murdered by a mysterious cybernetic assasin. Cap is taken by S.H.I.E.L.D to see the body but is not completely convinced it's really the Skull, having been witness to the Skull's many returns from the dead in the past.

This once again is a great issue written by Brubaker; my only complaint about the story comes in a scene where Cap must deactivate an electrical firebomb and uses his shield to destroy the controls (which seems to me to be a little too convienient). We're meant to assume that Cap knows what he's doing and knows the bomb won't explode anyway.

Artistic chores are halved this month, as Steve Epting is joined by Michael Lark (formerly on DC's Gotham Central), who contributes flashback sequences to this issue. If you have gone away from Cap or are a new fan looking for a place to start reading, this series is a great place to start.

Rating: 10 out of 10

Captain America #12

Writer: Ed Brubaker
Artists: Steve Epting & Michael Lark
Cover by Epting
Publisher: Marvel

Reviewed by Jess

It's been quite some time since I actually reviewed Brubaker's Captain America, not since issue #3, and while I may have gone on to review other titles, my love for what Brubaker does with this series hasn't changed. By now regular readers are aware of the identity of Aleksander Lukin's assassin better known as the winter soldier. I won't reveal the identity here as there's really not much point; those of you who haven't been reading this title are probably already aware of who it is.

What I will say about this issue is that it's a great character story as we see Steve Rogers reaction to the revelations contained in the winter soldier's top secret kgb file (as seen last issue). We see the reactions of his friends, and we also see how dangerous Aleksander Lukin can be when pushed to the edge. All of this leading toward the intensive confrontation between Cap and Lukin's assasin which is destined to happen.

Michael Lark once again joins Steve Epting on this issue contributing flashback sequences, and the more I see these two artists working together, the more I want Lark on this book as a replacement if Epting ever decides to leave.

With a hardcover release of this story slated for next year, you must hunt down the back issues to what is, right now, one of the best comics Marvel is producing. This book truly deserves the highest mark I can give.

Rating: 10 out of 10

Captain America: Red Menace TP

Writer: Ed Brubaker
Artists: Mike Perkins, Marcos Martin & Javier Pulido
Publisher: Marvel Comics

Ed Brubaker has done wonderful things (in my opinion) since taking over the relaunch of Captain America late in 2004. From the assasination of Cap's oldest enemy the Red Skull, to the introduction of his newest enemy the Winter Soldier, it has been a rollercoaster ride of shocks, surprises and revelations.

This newest collection reprints issues #15 through to #17 chronicling what happened after Crossbones took the Red Skull's daughter from a government re-education facility and their subsequent murder spree across America that Cap and S.H.I.E.L.D agent 13 Sharon Carter must stop before it's too late.

Also collected in this trade paperback is the 65th annivesary special, which features an all new story drawn by artists Javier Pulido and Marcos Martin revealing a lost Captain America story which also has ties to the present and hints at possible future plans.

The art in this book is for most of the time pretty good. Mike Perkins is a pretty good fill-in artist for Steve Epting, the regular artist on this book. Though their artwork in the 65th anniversary special looks a bit too cartoony.The art style is very similar, so even though the two artists draw alternating chapters, the effect is not jarring. The story itself is pretty interesting, reminiscent of the classic tales Stan Lee used to write and Brubaker throws in an old villain just to mix thing up. The only downside is the shortness of the book- at only 112 pages this will make for a fast read, but certainly an enjoyable one.

Rating: 8 out of 10

Captain Atom: Armageddon #8 (of 9)

Writer: Will Pfeifer
Penciller: Giuseppe Camuncoli
Inker: Sandra Hope
Publisher: DC

Review by Chris “the Titan freak”

As I've had very little previous "encounters", if you will, with the character Captain Atom before, I was somewhat hesitant as to this issue. Yet without any significant predetermined expectations or knowledge of this miniseries I was enthralled as to how easily I became interested with this
comic and the idea of Captain Atom as a stand-alone character.

The writing and dialogue was both fast-paced and spectacularly suited to the events that occurred. Although the plot was very single sided with minor deviations this did not hamper the comic's overall effectiveness as both a single issue and a lead-in to the concluding issue.

Overall, Captain Atom: Armageddon #8 is a highly enjoyable read with strong supporting artwork and with all roads pointing to a gripping conclusion I'm eagerly awaiting the final issue of this miniseries.

Rating: 8 out of 10

Catwoman #44

Writer: Will Pfeifer
Artist: Pete Woods
Publisher: DC Comics

Reviewed by Jess

The start of a new creative team in 'Blood of the Demon' and former 'Aquaman' writer Will Pfeifer and 'Detective Comics' artist Pete Woods brings with them a new foe for Catwoman in the form of batman villain Hush!
Villains are flooding into the east end of gotham, a place which Catwoman has vowed to protect and Hush offers his help in exchange for Catwoman's help in gaining something he wants.

This is actually a great story and a handy jumping on point for any new reader wishing to read something new and fresh. The pacing is great with nary a stopping point, as there's just too much action.

I very much enjoyed this issue and the cover by Adam Hughes is worth the cost alone!

Rating: 8 out of 10

Catwoman #52

Writer: Will Pfeifer
Artist: Pete Woods
Publisher: DC Comics

Reviewed by Jack

As a self proclaimed Gothamite I was very sad to see the end of one of the best comics to come out of that city – Gotham Central. So in an attempt to fill the void I picked up Catwoman #50 (which was the first issue in the last three issue story arc before One Year Later) and much to my surprise I found the writing to be what I can only describe as refreshing. Will Pfeifer hit his beats perfectly, and the script moves along at an enjoyable pace. However this story arc wasn’t necessarily the best place to jump on to the adventures of Selina Kyle as she is surrounded by everyday characters that I had no prior knowledge of. But as a recent reader of Hush and Identity Crisis it made things easier and interesting. The only thing I’ll say about the art is that it’s good, except when the title character appears in her costume in panels that show her entire body. Something about these shots just look wrong.

So this issue is the conclusion of the three part “Backward Masking” and also serves as the last issue of the current DC year – in other words, #53 will be the One Year Later opener. And frankly, I can’t wait. If all of the DC titles are going to end on such an explosive note as this one, then my curiosity will hit new highs in relation to see where the characters are next month (OYL) and in what happens to them in the missing year that we’ll read all about in “52”. I know it sounds like a money making gimmick/scam, but Will Pfeifer ends this story arc on a bloody note that I can only wish I would see in the Batman books. The DC Universe post Crisis is aiming to be more family friendly, so all the writers are hitting us with death and mayhem while they still can. Love it or hate it, people are still talking about Superboy’s actions in IC4.

I like to sit down with my comic book and spend a good twenty minutes reading each issue. I mean, I paid $5 for it and I want to get my moneys worth. Unfortunately with this issue, Pfeifer was probably under the hammer to tie everything up quickly, and the story definitely felt rushed. This could easily have been a 4 issue arc instead of three, but a by-product of the choppy narrative as it bounces from character to character is that the end comes a little quicker than you expect, and this serves to make the final pages that much more explosive. Pfeifer also in the beginning of the arc gets to explore what Selina is at her core; hero or villain, and even though she makes a choice now, I hope to see this theme explored in more depth during OYL and “52”.
If you’re a fan of the Gotham universe, then seek out #’50 & 51 and jump on board because this title while written by Pfeifer is worthy of your attention.

Rating: 8 out of 10

Catwoman: When in Rome #1-3 (#4 pictured)

Writer: Jeph Loeb
Artist: Tim sale
Publisher: DC

Reviewed by Jess

Taking place during the Batman graphic novel Dark Victory, Selina Kyle decides to leave Gotham City for Rome, Italy on a personal mission. After suiting up as Catwoman, she visits an italian gangster only to find that he's been killed... and now the police believe she killed him.

Ever since other books that Loeb and Sale have worked on (The Long Halloween and the afore-mentioned Dark Victory are two), I've been a huge fan of whatever projects occur when these two talents come together. Three issues into this series, and it has failed to disappoint.

Rating: 9 out of 10

City of Tomorrow #1

Writer/Artist: Howard Chaykin
Publisher: DC Wildstorm

Review by Christopher Franks

Howard Chaykin has found a comfortable home at DC but much of his recent work for the publisher's various imprints has revisited his stock elements of near-future settings, themes of corporate power and mass media, square-jawed heroes and people being shot through the head. This opening installment suggests City of Tomorrow will be another
entertaining read, but it's a little frustrating that unlike fellow luminaries such as Moore and Miller the abundantly talented Chaykin seems reluctant to broaden his creative horizons.

A non-sequential narrative, carefully managed to not be too choppy, provides an efficient overview of the past and present of the socially managed community of Columbia and Tucker Foyle, rebellious son of its creator. Although the script is not overly political in tone Chaykin can't resist some commentary on contemporary events, such as having US
military operatives plant radioactive material on a terrorist group after failing to uncover suspected weapons of mass destruction. His art style and dense layouts haven't changed much throughout his career, and Chaykin's experience with this kinetic approach shines through.

If it were the work of a new talent I'd be impressed, but at this stage City of Tomorrow looks to be fairly standard Chaykin -- better than the majority of comics out there, but nothing we haven't seen him do before.

Rating: 6/10

Civil War #1

Writer: Mark Millar
Penciller: Steve McNiven
Inker: Dexter Vines
Colourist: Morry Hollowell
Publisher: Marvel

Reviewed by Ben Marton

When first informed of Marvel’s latest continuity-wide Earth-shaker, bursting forth just as DC’s weary equine groggily stumbles into the shallowest of graves after a sound flogging, I was understandably sceptical. I had read the synopsis: Following a catastrophic event resulting in ‘civilian’ casualties, an edict is issued calling for the government registration and training (read ‘regulation, suppression and control’) of all superhumanly gifted, resourced or assisted beings in the Marvel Universe, or at least those pertaining to the planet proper. The complication, of course, is that not every long underwear type is quite willing to trade his or her Unstable Molecular One Piece for a clip-on name tag and designated parking space on the S.H.I.E.L.D. Helicarrier. Should service to the community be dictated by policy and directed from above? Ominously, two camps begin to form…

The reason for my aforementioned scepticism can be traced back to decades of the ‘Heroes Misunderstand, Heroes Disagree, Heroes Fight, Heroes Understand, Heroes Unite, Status-Quo (more or less) Restored’ sequence. I tend to prefer very little grey in my superhero spectrum and unless a clear villain is thrown into the equation, the mylar stays clear more often than not. Furthermore, was it really time for the ‘Mutant Registration Act’ storyline to be taken out and dusted off in the name of (shudder) relevance?

Well, it is interesting to note (and no, I’m not going to leave this alone) that I read ‘Infinite Crisis’ issue seven and ‘Civil War’ issue one in a single sitting and thought to myself that perhaps in the case of the former I should never have been so naïve as to think it would get anything but worse, and perhaps in the case of the latter I should not have been so hasty in my condemnation before I had even sampled a single panel.

From the competently composed cover design (‘elegantly’ may be too strong a word; and besides, then I’d lose the alliteration) to the professionally finished, consistent interior art, ‘Civil War’ looks slick and sexy, at the very least. A standout image is Captain America escaping his pursuers by riding an F-15 Eagle like it’s a bucking bronco, his jaw clenched with such determination that one can almost hear the tortured grinding of his molars. Steve McNiven seems capable of rendering a vast array of characters, simultaneously bringing them to heel under a modern aesthetic while retaining those elements which emphasise their classic design. The glaring exception to this, of course, is Iron Man, who resembles nothing so much as a ski boot.

The precision of Dexter Vines’ inks is a wonder and Morry Hollowell accesses a rich colour palette which leans heavily on the more incendiary hues as befits the dawn of battle. While I may pine for the days before Marvel Girl discovered bulimia and Captain America needed a utility belt, I can read ‘Civil War’ and begin to believe again that the brave men and women who sport war-paint in primary colours are the demi-gods, mages and living legends of a universe which resounds with weirdness and high drama. To put it in terms more prosaic, the fun of the series, I’ll warrant, will be in trying to anticipate just where the allegiance of our favourite hero falls; Iron Man, powerful industrialist that he is beneath all the circuitry, must be very mindful of his responsibility to the public trust. Mr. Fantastic feels the divided loyalty of the frontier-challenging scientist who has seen first hand the consequences of power without restraint. Captain America is the living embodiment of a dream born in the fires of rebellion; the first country that was an idea before it was a nation. Wolverine sees only the bad.

In the end, how can I argue with a series sparked off by an echo of my own anxiety? Over six hundred people die horribly, and it is all the fault of reality television. Mr. Millar, you read my mind.

‘Civil War’ is, at least so far, a class act; an ensemble piece derived from a logical and well-developed premise. I can only hope that as it grows we will see something we have not seen for a long time in this genre: beloved characters, no matter how marginal, treated with respect and allowed dignity in a universe where sales and focus groups matter outside the pages, but are held at the ramparts, and never allowed to infiltrate.

Rating: 8 out of 10

Civil War #2

Writer: Mark Millar
Artist: Steve McNiven, with Dexter Vines and Morry Hollowell
Publisher: Marvel

Review by Christopher Franks

Despite a marked increased in the volume of crossovers, crises and hyped-up continuity events, significant and lasting change has of late been all too rare in mainstream comics. While keeping things roughly the same is a commercially safe bet, every so often the major
publishers will roll the dice and move things forward -- but rarely to the level seen in this landmark issue.

Mark Millar has been pushing the envelope of the super-spandex genre since his controversial spell on The Authority, and in only the second chapter of Civil War drops enough bombshells to make Infinite Crisis and Marvel's own House of M/mutant depowering combo seem decidedly uneventful. Far from following the usual event comics formula of alternating dialogue and fight scenes over the drawn-out possibility of something big happening, in the pages of this issue the registration act becomes aggressively enforced law, sending some prominent members of the former superhero community into an unlikely underground alliance and inspiring one vigilante to become a very public hero. Although a standalone story Civil War is informed by and a realistic progression from recent happenings in the Marvel U: the consequences of a superhero gone rogue in Millar's Wolverine run, the disbandment of the original government-sanctioned Avengers, the militant direction of SHIELD under its new director, and more. Spanning the work of multiple writers and titles in a more natural and evolving approach to shared continuity than the editorially centralised groupthink currently in vogue at DC, coupled with Millar's masterful characterisation Civil War makes a world of people in tights punching each other seem very real.

Marvel's intense marketing for Civil War has positioned it as akin to a summer blockbuster movie event, and inside the elegantly designed covers is widescreen cinematic comics of the highest order. Confidently employing a style refined on The Ultimates and elsewhere, Millar writes with an economy of pacing and detail that packs narrative into a slightly expanded page count without events seeming compressed or rushed. The visual side of the bargain is handled seemingly with ease by the phenomenal Steve McNiven, whose finely detailed yet fluid renderings are as always elevated to an even higher visual plane by the tight inks of Dexter Vines and sumptuous digital colours and textures of Morry Hollowell. While the pace and dynamism of the central action sequence is exhilarating, elsewhere still and often silent panels perfectly crystallise key moments in an eventful story and carry far more weight than simply that of ink on paper.

Which brings us to the truly momentous closing scene of this issue. What Marvel is calling one of the biggest revelations in comics history for once justifies the hype, as it is one of if not the most significant event ever in the life of the publisher's flagship character and will unquestionably change his central role in the Marvel universe. In the context of this story and his recent alliance with prominent figures in the pro-registration camp, and going back to his very origins and pledge to honour the responsibility that comes with his powers, it seems both an entirely plausible personal decision and dramatically rich new direction for the character. Traditionalists who wish the icons of mainstream comics to remain ageless and unchanging will no doubt argue this latest turning point has taken the character too far from his core concept, and cynics will debate the how and when of this genie being forced back into the bottle. Both of these views have merit, but to a reader who has followed the hero in question through many other life-changing events this genuinely feels like the next chapter.

While progress at DiDio's Comics continues to be largely an illusion crafted amid the smoke and mirrors of periodic resets, retcons and creative team shuffles, with this bold series the House of Ideas continues to do what it has always done best: tirelessly and fearlessly redefining its rich library of characters and concepts as the basis for a new generation of compelling stories. A bridge between two distinct phases of the Marvel universe, executed almost flawlessly by some of the most talented creators in comics today, Civil War #2 is not just the most significant single issue in many years -- it's also one of the best.

Rating: 10/10

Civil War

Writer: Mark Millar
Artist: Steve McNiven
Publisher: Marvel Comics

Reviewed by Henry Nicholls

Comics as a medium, and superheroes as a genre, have been around for a long time, and while the stories featured today are vastly different from the ones of the 30s and 40s, there are still many of the same conventions: good guys versus bad guys, colourful costumes and outlandish plots. ‘Civil War' is an attempt by Marvel to bring a more modern, credible edge to its stories, and also make some lasting changes to the fictional world they inhabit. The self-described “comics event” has attracted some mainstream attention, but has it been a success in terms of writing?

It all starts when the New Warriors, a superhero team featured on a reality TV series, rashly takes on a group of supervillains more powerful than they are. The confrontation results in an explosion that kills hundreds of civilians, many of them children. In the wake of the tragedy comes a call for super-powered people to be trained and registered, a policy that divides the superhero community. The ones on the side of registration – and the law – are led by Iron Man; the others, who claim that their calling goes beyond legislation, rally behind Captain America.

There are a lot of interesting concepts in this story. There are little modern touches (the reality TV set-up, superheroes hobnobbing with party A-listers like Paris Hilton) that add to the entertainment factor. And the central idea of turning folks like Spider-man into federal agents is one with a host of fascinating implications (as well as making a lot of sense, as characters from both sides point out frequently). Unfortunately, the high concept quickly devolves into a series of brawls amongst the factions, with not much plot development in between. And the motivation behind Captain America's side seems under-explored; apart from some vague mentions of freedom and heroes being volunteers instead of employees, they come across as stubborn kids who don't want to play by anyone else's rules.

The artwork is impressive, with an attention to detail that adds a nice splash of realism to match the narrative. McNiven is not afraid to draw the characters bruised and scuffed up, which is just as well considering how much fighting they do. There are also a couple of neat background jokes drawn into the frames that are worth keeping an eye on. (Watch for the bus going past advertising ‘The Colbert Report'.)

Whether the changes from this series and the related storylines have a long-term impact on future Marvel comics remain to be seen; it wouldn't be the first time that a big comics event was retconned out of existence further down the line. But there's the chance that people will look back at ‘Civil War' later as a historical, if flawed, addition to the canon.

Rating: 7 out of 10.

 

Claw: The Unconquered #1

Writer: Chuck Dixon
Artist: Andy Smith
Publisher: DC/Wildstorm

What I liked: What was good about this story was that for a first issue it was very reader-friendly, which is highly important these days. There was no requirement at all for me to read any past issues, or to learn anything about the Claw character. I could just pick up this issue and read it and know everything I needed to know in those 22 pages. I'm not familiar with the work of Andy Smith, but his artwork is very impressive and I'd like to see more examples of his work.

What I disliked: While the story is pretty much entertaining, one of the many thngs I found while reading this is the character is very reminiscent of Robert E. Howard's Conan, and I personally think when it comes to emulating the Conan character, it's going to be a second best effort. If you've never read any Conan stories then this won't affect you at all, but for fans like myself, it just reads like a Conan clone. The other thing in this story which I found to be absolutely ludicrous was the mention that to cure his affliction (i.e the claw on his hand) he attempted to cut it off with his sword, but as the cliched evil sorceress reveals later, doing so has caused it to have a life of it's own now, killing innocent animals for whatever ridiculous reason the writer thought up.

In Conclusion: This book is a pretty decent read, living claws aside, and obviously writer Chuck Dixon has done the best with the material on hand, but I'd suggest reading the real deal and pick up back issues of Kurt Busiek's Conan.

Rating: 5 out of 10

Clumsy

Writer/Artist: Jeffrey Brown
Publisher: Top Shelf Productions

Reviewed by EvilDan

Wow how good! Another emo comic done by a guy that can't draw so he goes for the "I'm drawing crap on purpose because drawing good would be selling out" look. Don't you love people that can't think of a good story so they base their comic on their own boring as hell lives. I think that Jeffery Brown did this book so girls would think he's a bit of a SNAG and sleep with him......EEEERRRRRR!! Wrong Jeff! This book feels like its written by a girl and it's for girls....but don't get me wrong, my girlfriend loved this book and so did my mate's girlfriend, infact every girl in the world would love this book.......but I didn't because you know that the guy who did it is a ponce.

If you're a guy: 1 out of 10
If you're a girl: 9 out of 10

Conan: Book Of Thoth #1

Writers: Kurt Busiek & Len Wein
Artist: Kelley Jones
Publisher: Dark Horse

Reviewed by Jess

Let's face it, we're all aware of Conan...but how many of us can say we know what is to know about his greatest enemy, the wizard known as Thoth Amon?

This first issue of a four part tale tells the origin of the Cimmerian's greatest foe written by the writer of the current ongoing series Kurt Busiek, and considering he will soon be leaving the ongoing Conan monthly series, in this story he's choosing to go out with a bang.

I had my doubts about reading this story; the price alone for one thing, although there are no ads during the story and at 40 pages of story that's pretty impressive, but I also had doubts because of the past mini series, which in my opinion had been a little average. But I'm happy to say this first issue (the second is out now) really is a page turner. I eagerly await future issues of this mini series as it really is a great read from start to finish.

8 out of 10

Countdown to Infinite Crisis #1

Writers: Geoff Johns, Greg Rucka, Judd Winick
Artists: Rags Morales, Ed Benes, Jesus Saiz, Ivan Reis, Phil Jimenez
Publisher: DC

Reviewed by Christopher Franks

I find little of interest in DC's current crop of assorted Batman, Superman and JLA titles and spinoffs, so the Countdown one-shot was a crucial opportunity for the publisher to sell me on its upcoming special projects. While my level of interest remains roughly the same I enjoyed this look at the often dense and impenetrable DC universe through the eyes of one of its lesser-known heroes.

DC assigned its three top writers -- Geoff Johns, Greg Rucka and Judd Winick -- to this issue, with their combined talent and experience producing a refined script that efficiently covers many bases. With multiple mega-events on the horizon this prelude is cleverly centred on a second-string superhero, one who never fit in with the likes of Batman and Superman no matter how hard he tried, and gives him a brief moment to shine as a big-time player. His side tour of the DC universe's major characters and organisations, obviously intended as a way in for new readers, rarely feels obtrusive or artificially imposed on the main narrative. The countdown aspect of the story is also well managed, with the crucial event at the end of the ticking clock kept ambiguous until the closing stages.

Although Countdown is intended to set the stage for a number of upcoming DC miniseries, this aspect of the script is probably the least effective. The core crime/espionage story sits comfortably with the introduction of a Lex Luthor-led coalition of villains and the reappearance of spy organisation Checkmate, but the links to more cosmic-level projects (a Rann/Thanagar war and something to do with Shazam) are clumsy and forced, with the narrative obliged to stand still for a few pages while some ominous exposition is delivered. The 'Meanwhile...' interlude approach, while a little less clever, would have made for an easier read.

Five art teams contribute to this issue, each illustrating one chapter. The shift in style between each section is perceptible but not disruptive, aided by a consistency in character and visual design usually lacking in multi-artist projects.

Although promoted as an 80-page setup for more substantial projects, Countdown also delivers an entertaining self-contained tale both accessible to DC neophytes and with links to the past, present and future of the DC universe to pique the interest of veteran readers.

Rating: 7/10

Crisis Aftermath:The Spectre #1

Writer: Will Pfeifer
Artist: Cliff Chiang
Publisher: DC

Reviewed by Jess

DC's latest effort to try and make the Spectre an interesting character involves making former detective Crispus Allen (from Gotham Central) the latest host for the Spirit of Vengeance. Without a body and wandering the earth as a spirit, the Spectre comes to Allen and says he needs him, but Allen refuses and so the Spectre gives him one year to change his mind. As I say at the beginnng of this review this is DC's newest attempt to make the Spectre an interesting character, which I'd say is not an easy thing to do. The Spectre has always been a one dimensional character and this series doesn't go any further in making him an interesting character. Only read this if you're a completist.

Rating: 2 out of 10

The Cryptics

Writer: Steve Niles
Illustrator: Benjamin Roman
Publisher: Image

Reviewed by Ben ‘Van Helsing’s Pal’ Marton

Unless you have been living in one of the world’s less frequented tar pits lately, with your eyes sewn shut and your ears liberally packed with surgical gauze, you’ll know that comics horror-meister Steve Niles loves the Universal Monsters (note the proper nouns; these are not simply critters known the world over. The name is often used to denote the popular cinematic versions of archetypal beasties which are trademarked properties of Universal Pictures). Combine this fannish element of his creativity with his praiseworthy ability to pitch tales in the horror genre at a multiplicity of levels and for a plethora of aesthetic sensibilities and feel-good terror-tyke fun like ‘The Cryptics’ is an inevitability.

Granted, this is far from the first time that Count Dracula, The Wolfman and their ilk have shared a credit; Ash is fixing to take them all on over in Dynamite Entertainment’s ‘Army of Darkness’ ongoing, and a notable celluloid example of recent times is the rip-roaring ‘Van Helsing’, puzzlingly overlooked and underrated, especially by a horror community that has forgiven far worse transgressions (I’m looking in your direction, Jovanka Vuckovic over at ‘Rue Morgue’. Stop picking on Stephen Sommers. Go make your own darn movie!)

This time around, the standard spooks are joined by their Universal stable-mate, the Creature from the Black Lagoon, or at least a legally distinct, kiddified version of same, plus a Calvin-esque son of Dr. Jekyll who becomes a little more Hobbes than Hyde. Yes, the Cryptics are the next generation of school-age Terrors from Beyond; the Little Rascals as directed by James Whale. As is apparent from the rambunctious opening splash page, flying red wagon and all, good, clean, Halloween candy fun is the order of the day, as variously paced shorts see our petrifying pals play Transylvanian Standoff with super-soakers, switch formulas to give Li’l Jekyll a ‘Hyde-ing’ on a school test (couldn’t resist) and face the terrors of Christmas.

This all-ages romp showcases Steve Niles’ versatility, as it is as charming and inoffensive a collection of tales about traditional horror icons as you could possibly imagine; parsecs away from ’30 Days of Night’ or his ‘Criminal Macabre’ work both tonally and thematically. Owing more to the short strip cartoon tradition of ‘Peanuts’ or ‘PvP’, the sequences starring the Cryptics are simple single punchline setups rather than actual narratives. While there are no real ‘laugh out loud’ moments, warm smiles will abound. ‘The Cryptics’ reads like an assemblage of previously stand-alone strips from various contexts. The reader may want to casually dip into a chapter at a time; leave it to one side of your weekly reading list and alternate each swallow with a full-issue course of something else. This is strictly a garnish; a delightful condiment comic which does not stand up to a complete read-through in one sitting, despite its brevity. That is not to say the content is sub-standard, by any means; merely that the format can be problematic. I have the same issue with my Alex Raymond ‘Flash Gordon’ hardcovers.

The squat distortions of Benjamin Roman’s beautifully consistent artwork lends ‘The Cryptics’ an eerie yet childlike ‘Invader Zim’ quality. He ideally captures the vibrancy of Summer in the suburbs at a twelve year-old eye level and confidently shuffles panel structure when the dictates of the story require it. It should also be said that I am rarely convinced that computer inking and colouring processes add significantly to the aesthetics of a comic, but ‘The Cryptics’ may just sway me yet. While the narrative substance may be a little thin, the book looks beautiful if one merely wishes to indulge in a pick-up and flip-through.

You’ll probably never see a breathless essay about it on Sequart.com, but if you have time on your hands and want to shift to a lower gear, ‘The Cryptics’ will get you through your next five minutes in style.

Rating: 7 out of 10

Daredevil: Redemption #1 (of 6)

Writer: David Hine
Artist: Michael Gaydos
Publisher: Marvel

Review by Christopher Franks

Having explored the criminal underbelly of New York's mutant ghetto in District X, writer David Hine takes Matt Murdock to Redemption Valley, Alabama to defend a persecuted local teen accused of murder. This relaxed but engaging first issue suggests the potential for a good legal drama, but Hine's grasp on the title character is less certain.

The issue opens strongly on the discovery of the murder victim, with bold and cinematic visuals from the always impressive Michael Gaydos, but subsequent scenes are less effective. Revisiting the abusive father aspect of Daredevil's background yet again will need to pay off later in the series to be at all justified, and a long Murdock and Nelson office scene is just sloppy. Foggy Nelson has always been the rational foil to Matt Murdock's idealism but here he is petty and cold-hearted, made to play the bad guy to dismiss legitimate plot points he raises such as why even an idealistic New York lawyer would travel to the southern Bible belt of the US to take on a single murder case. As seen in District X Hine has a tendency to take quick, cheap and unsatisfying options to keep the narrative going in his desired direction, and his cavalier approach to established characters is a clumsy and barely acceptable means of banging his murder mystery story into the Daredevil framework.

The pros of this opening issue outweigh the cons, but while this is clearly more a Matt Murdock story than a Daredevil one much more needs to be done to justify the presence (and sales angle) of one of Marvel's major characters.

Rating: 6 out of 10

Daredevil #71

Writer: Brian Michael Bendis
Artist: Alex Maleev
Publisher: Marvel

Reviewed by Christopher Franks

After a couple of entertaining if undistinguished diversionary arcs Daredevil writer Brian Michael Bendis brings the title back to the ongoing plot with 'Decalogue', a series of short stories exploring the repercussions of Matt Murdock taking down Wilson Fisk and declaring himself the new ruler of Hell's Kitchen. Not having an episodic Daredevil-centred narrative to rely on this arc will rise and fall on the quality of the individual vignettes, and this issue isn't a great
opening.

On his arrival to mainstream comics Bendis' naturalistic, Mamet-esque approach to dialogue freaked out those who can't deal with something bordering on realism in their spandex action fantasies. Here, however, the collective uncertainty and false starts of a support group meeting don't so much establish mood or atmosphere but simply use up pages, at a time when the Daredevil-as-kingpin plot really needs to be moved forward somehow. The core story of a drug-addicted prostitute inspired to turn her life around by Daredevil's example is moderately interesting, if a little standard, but what it boils down to is a multi-page fight sequence -- to which Alex Maleev's scratchy art, although here showing a more streamlined pencil-and-ink approach, isn't really suited.

Bendis' trademark slow-burn approach fails to fire here, and while the Decalogue concept has the potential for many interesting short stories this unfortunately isn't one of them.

Rating: 5/10

Daredevil #84

Writer: Ed Brubaker
Artist: Michael Lark
Publisher: Marvel

Reviewed by Jess

Over the last few months there's been a great amount of change on this title. Outgoing writer Brian Bendis has been replaced by Ed Brubaker. His work on the monthly Captain America series is nothing short of outstanding, and he transfers the same kind of quality in his first story arc titled 'The Devil In Cell Block D'.

The story so far....Matt Murdock has been sent to prison as seen at the end of Brian Bendis' last story and while Murdock remains in prison, a new Daredevil is prowling the streets.

Former Gotham Central artist Michael Lark is on art chores here and does a brilliant job. It's nice to see a bit of colour in the book for a change instead of Alex Maleev's grey tones. Whatever you do, don't read through to the last page or you may spoil yourself on one of the best cliffhanger endings in comics this year.

9 out of 10

DC: The New Frontier – Volume One

Writer and Artist: Darwyn Cooke
Colourist: Dave Stewart
Publisher: DC Comics

Reviewed by Henry Nicholls

DC Comics owns some of the world's most famous and recognisable heroes: Batman, Superman, Wonder Woman. It also lays claim to a bundle of more obscure ones, like Hour-man and Wildcat; these are characters from the famous Golden Age of comics, whose declining popularity made way for the less idealised, science-fiction-themed Silver Age. There have been a few attempts to reconcile the two periods of time within the DC universe, of which ‘The New Frontier' is perhaps the most ambitious.

The story is mostly set in 1950s America, where Communist paranoia has spread to the point where superheroes – or “mystery men”, as they are known – have been banned by the House Un-American Activities Committee. The only ones left operating are Superman and Wonder Woman, who work for the government, or those who do so illegally, such as Batman. Paranormal threats are taken care of by military units like the Suicide Squad, led by the intense Colonel Flagg. Amongst all this a young pilot by the name of Hal Jordan, shaken by his experiences in the Korean War, longs for something to give his life meaning, which he might just get from joining Ferris Aircraft.

Everything about this book is exciting. The setting, a time full of optimism with a sinister undercurrent, is evoked so strongly by Cooke's writing. The blending of the mundane and the fantastic is particularly effective; it seems perfectly natural for a glitzy charity event to be interrupted by a fight between the Flash and Captain Cold. The cast of characters includes old heroes coping with retirement and familiar faces who have yet to become their amazing alter egos, and all of these are strongly drawn (though some fans might be surprised by how uncompromising Batman and Wonder Woman are). An unfortunate exception is Superman, who, in this first volume at least, doesn't have much of a presence.

More than matching the storytelling is the artwork, a glorious homage to the bold style of Jack Kirby, with a bit of the animated DC look thrown in. Everything looks energetic and enticing, with a retro-futuristic touch to the backgrounds that makes them leap off the page. Colourist Dave Stewart helps bring across the mood with a palette that is similarly strong and vibrant.

All over this is a top-class book, one that had me itching to read Volume Two as soon as I finished it. The combination of compelling storyline, rich characters and beautiful art guarantee that ‘The New Frontier' will be an enduring classic of the genre.

Rating: 9 out of 10

Death Dealer #1 of 6

Writers: Nat Jones, Jay Fotos & Joshua Ortega
Artists: Nat Jones and Jay Fotos
Publisher: Image

Reviewed by Adam White

Can you judge a book by its cover? The creators of this comic hope so, as they attempt to produce an entire miniseries based around a poster (reproduced on the cover) by legendary Fantasy artist Frank Frazetta.

In the pseudo-Medieval land of Iparsia , things are not going well. An army of zombies is obliterating outlying villages, and Bruce Campbell is nowhere to be seen. The local maiden's boyfriend is slain by said nasties and apparently consumed by a giant tree, which then gives birth to… the Death Dealer! He's a mysterious demon warrior dude, kind of like Ghost Rider with a horse. We are told he was last seen in a war 900 years ago where he would “show up at every major battle” and kill whoever he felt like “never choosing a side”.

This issue plays out like the first 15 minutes of a sword and sorcery horror movie, the only thing missing is the anachronistic death metal soundtrack. There's no real indication where the plot will go from here, particularly with regard to the motivation of the title character. Is he using the unlucky love-struck woodsman as a mortal host? Does the girlfriend, who survived the zombie attack, now fit neatly into the role of Final Girl? In fact, more detail about what actually happens in this issue is revealed in the “Next Issue” blurb than can be determined from the actual text, a sign the writers have a plot worked out but are failing to reveal it to the reader in an appropriate fashion.

Nat Jones does a good job drawing a fairly low-key fantasy adventure, with a strong inking style. The maiden and her brother even show a family resemblance. The action scenes have minimal detail, but are densely laid-out to produce a relatively engaging effect. Jay Fotos proceeds to drain the life from everything with a uniformly grey colour scheme, but it's an artistic decision which gives the story a distinctive, if somewhat dreary, look. Even lit torches fail to illuminate much more than themselves, emphasising the story's horror theme. The mythical land of Iparsia is apparently not based on a real time or place, as the clothing, craftwork and architecture is a vague mixture of Celtic, Viking and Germanic styles, and nothing in the “present” scenes seem at all different to what it was “900 years ago”. Let's call it Europe .

It's got zombies, swords and axes, a badass Frenchman(?), a big evil horse and the world's largest tree. If you like horror stories with a strong dose of fantasy, or fantasy stories with a major emphasis on hack n' slash, this may be the series for you, but this issue does seem a bit light on story for the cover price.

Rating 5 out of 10

Desolation Jones #1

Writer: Warren Ellis
Artist: J. H. Williams III
Publisher: DC Wildstorm

Reviewed by Christopher Franks

During his lengthy climb to A-list status Warren Ellis has become a complacent and undisciplined writer, endlessly recycling a narrow range of characters and themes in works which are frequently less about storytelling and more whatever New Scientist article or technological gadget has captured his attention this week. New ongoing series
Desolation Jones, however, shows one of the most overrated writers in contemporary comics can still craft an entertaining -- if more than a little familiar -- tale when he puts in the effort.

Former MI6 agent Michael Jones now works as a private investigator for the secret community of ex-intelligence operatives living in Los Angeles, and in a setup rather obviously swiped (another Ellis trademark) from The Big Sleep finds himself on the hunt for master copies of Hitler's home-made porn films. Many of the standard Ellis elements are redeployed here -- cynical yet idealistic protagonist, sexy female assistant, an abundance of perverts and perversion -- but within this framework there are a number of fun incidental moments, such as a Brooklyn native who secured a butler job on the strength of his imitation British accent. Jones is a less bitter and more readily likeable character than Ellis usually provides for the lead role, and the writer keeps his irritating tendency for tangential, narrative-suffocating exposition largely in check.

Ellis has a knack for hooking up with great artists, and during his recent collaboration with Alan Moore on Promethea, J. H. Williams III proved capable of handling almost anything. Here a variety of visual approaches are employed to give character to individual sequences or even panels, and while the linework is generally realistic in style it never becomes bogged down in detail.

It's difficult to think too highly of Desolation Jones when so much of it is derivative of the writer's previous work, but while Ellis travels this road far too often he certainly knows how to do it well.

Rating: 7/10

Desolation Jones #2

Writer: Warren Ellis
Artist: J. H. Williams III
Publisher: DC Wildstorm

Review by Christopher Franks

The debut of Desolation Jones was an entertaining introduction to a shady Los Angeles subculture of ex-intelligence operatives, but one so stocked with familiar Warren Ellis tropes he could have conceivably written it in his sleep. While equally familiar and narrow in scope a sharp script gets the followup issue over the line -- just.

Michael Jones continues his search for missing Hitler porn films and meets with Emily Crowe, a smart and beautiful ex-CIA agent whose botched physical modification has left her constantly pumping out pheromones that horrify and repel other humans. An apparently flawless individual genetically cursed to be alone is cheap, although no more so than many others in Ellis' endless parade of damaged characters, and while moderately engaging this glimpse into her world is largely a distraction from the main narrative, which struggles for space. On the positive side J. H. Williams III's rendering of Crowe, sexy without relying on pin-up posing or ridiculous physical proportions, exemplifies the intelligence and artistry he brings to every panel.

Desolation Jones shows no sign of moving outside Ellis' comfort zone, and while well crafted this issue is largely off the spine of a nascent series yet to prove itself.

Rating: 5/10

Deadshot #1

Writer: Christos N Gage
Artist: Steven Cummings
Publisher: DC

Review by Jess

Floyd Lawton is an assasin for hire named Deadshot. When he discovers he has a daughter he never knew about, he decides to pay a visit to the child's mother. After offering her money to move to a better neighbourhood (which she
refuses) Lawton as Deadshot decides to clean up the neighbourhood in his own way.

Television writer Christos N Gage tells the touching story of a man willing to do anything to make the world a safe place for his daughter to live in; unfortunately he doesn't make it that interesting to read.

I'm not familiar with what artist Steven Cummings has done before, but Ilike his work, and would like to see more of this talented artist.

This five issue mini-series will hopefully improve as time goes on... which is why I give it a low score:

Rating: 5 out of 10

Detective Comics #817
"One Year Later" Begins
-Review 1-

Writer: James Robinson
Artist: Leonard Kirk
Publisher: DC

Review by Jess

It's one year later in the DC universe and while the events that have occured during that year will not be revealed until DC's weekly series '52' starts, you can still pick this book up and know everything you need to know to enjoy the story. I was very excited about this story as with this issue (and the next issue of Batman) one of my favourite writers, James Robinson (Starman, Cable) comes on board for four issues on Detective and four issues on its companion title, Batman, starting with issue 651. Providing art on this book is former JSA artist Leonard Kirk who really does a great job. Writer Mark Waid has gone on the record to say that Batman will be beginning to return to his old lighter self and while I doubt we'll see some of the oddball stories done in the fifties and sixties this decision to me sounds like a step in the right direction. This for me ranks as one of the week's best reads.

10 out of 10

Detective Comics #817
"One Year Later" Begins
-Review 2-

Writer: James Robinson
Artists: Leonard Kirk & Andy Clarke
Publisher: DC

Review by Christopher Franks

As DC's latest marketing ploy kicks off the company has assigned some relatively big names to reinvigorate its premier superhero franchise, but the 'One Year Later' shift for the Dark Knight seems to be more about turning the clock back.

Writer James Robinson has drawn much of his critical acclaim from retro-themed projects, and seems an appropriate fit for an apparent semi-reboot of Batman continuity. Jim Gordon has been coaxed out of retirement and back to the position of police commissioner, animosity between Gotham's finest and Batman has been resolved, Harvey Dent's sanity is in question, and even outcast cop Harvey Bullock has been accepted, if not necessarily with open arms, back on to the force. Batman and Robin getting chummy with Gordon next to the Bat-Signal
before swinging off to foil a supervillain's dastardly plot seems more in keeping with pre-Crisis/Year One continuity, and while traditionalists will no doubt welcome this rewind to an earlier status quo others who enjoyed the developments of stories such as Officer Down and a more complex Bat universe may not appreciate or see the need for such a wholesale clearing of the deck. And with the events of the preceding twelve months of 'DC time' kept well at arm's length -- don't worry, you only need to buy 52 full-price issues to find out what happened -- these significant changes seem to have happened overnight and by magic.

As the obligatory setup issue for a new creative team this is more of a prelude to the story than its opening chapter, but unencumbered by links to other titles or preceding stories Robinson engagingly sets a number of plot threads going. The art from Leonard Kirk and Andy Clarke is in keeping with the DC house style of late, with a good grasp of composition and visual storytelling not enhanced by any significant degree of personal style or visual flair.

A competent beginning, but the new direction for Batman doesn't seem to be heading anywhere we haven't gone before.

Rating: 6/10

The second major storyline of District X continues to flow on naturally from the first, carrying over a number of themes and plot threads to create an evolving ongoing drama. Unfortunately, the sharp characterisation and involving police procedural of the debut arc is in this issue largely overtaken by soap opera melodrama and contrived, cliche-ridden plotting.

The previous issue's cliffhanger is unsatisfyingly dismissed in a handful of panels, suggesting writer David Hine simply doesn't care and by extension neither should we. An attempt to have Bishop's presence inform the growing marital tension between Ismael and his wife would be an interesting direction if either of these developments didn't feel
artificially imposed on the narrative. Bishop confronts his government superior in a familiar scene, an interesting character from earlier in the series is enslaved to deliver exposition, and the issue concludes with yet another take on the stale 'militant mutants living underground' concept. An economical and well-structured plot cannot rescue what reads like a rushed script.

After contributing a few fill-ins during the first arc, Lan Medina has been promoted to regular penciller for the series. He continues to deliver solid if unspectacular work, with a good eye for realistic proportions appropriate to the series, and does well to maintain the character designs and visual style established by Australian artist David Yardin.

Not without one or two entertaining moments, but the sharp decline in the writing quality is of concern.

Rating: 5 out of 10

Doll and Creature #2

Writer: Rick Remender
Penciller: John Heebink
Inker: Mike Manley
Colourist: Nick Filardi
Cover Art: Kieron Dwyer and Nick Filardi
Publisher: Image

Review by Ben Marton

In his Issue One post-script, Rick Remender describes his initial vision for ‘Doll and Creature’ way back at the end of the millennium: ‘A Bruce Campbell-esque Frankenstein monster in a classic car with a curvaceous brunette in mummy wraps on a mission to clean up a city’.

Rick, you had me at ‘Campbell-esque’.

While I confess I initially baulked at handing over my hard earned shekels for a story I already owned as a black and white TPB (the original version was a one-shot put out by an outfit known as Ait/PlanetLar back in 2002, complete with bodacious Dan Brereton cover), I was eventually won over by a combination of zealous comic vendor (you haven’t steered me wrong yet, Peter!), colourisation and the possibility of this splatterbrain thrill ride moving beyond its original incarnation and achieving ongoing status.

I am sooo glad I signed on! If ‘Fear Agent’ is Rick Remender’s love letter to the best of old-school Wally Wood SciFi, then ‘Doll and Creature’ takes what is truly great about hokey drive-in horror and supercharges it. Many comics are deserving of a soundtrack, and this title’s would have to be by The Cramps, dialled all the way up to eleven. If I sound more like a drooling fanboy than usual, I make no apologies, Dear Reader. There is simply no other way to discuss this comic. From page one you know it is going to be every bit as satisfying as the prospect of watching The Goon punch Marilyn Manson in the face.

Doll, the aforementioned curvaceous brunette, clad neck to toe in form fitting bandages no less, lives in a dingy future of urban squalor in which Gothic Chic (not the fun Rob Zombie, Tim Burton kind but the dreary Ann Rice, ‘The Crow’ kind) has become ubiquitous and prescriptive in the worst way. All organised religion has been outlawed, because every good Goth knows that all the ills of the world are the fault of the Christians, and the detritus of the streets are pacified by the latest designer drug; at least that is the theory. In actuality ‘Grey Matter’ is 100% addictive and eventually morphs its users into vamps as re-imagined by George Romero. When a horrendous encounter takes Doll’s eyes (and more gruesomely, her best friend’s tongue), in crashes Gristle, a self-styled cyborg Frankenstein vigilante, looking like the results of James Dean being slipped steroids and pounded with a meat tenderiser. Gristle flings one-liners like Hellboy’s less articulate cousin while popping zombie skulls beneath his motorcycle boots. Cue saving the day, kicking tail and taking names. To be continued. Oh, and Gristle has a kind of half-brother who has an ugly melted head in a fishbowl. Cool factor doubles.

The aesthetic of ‘Doll and Creature’ wears Mike Manley’s inking style on its sleeve; Mr. Manley has a history of Good Girl / Monster Man obsession which ultimately powers the title. The Early Raimi-style mayhem barrels along wonderfully because Heebink and Manley understand that a monster mash title of this stripe cannot be too lovingly rendered (in the manner of some of IDW’s grimmer efforts) nor can the characters be weighed down by too many dimensions (a la ‘The Walking Dead’). For a comic published in the 21st Century, a surprising amount happens in a single issue of ‘Doll and Creature’ because it doesn’t goof around with the usual cast of tortured anti-heroes and weak sisters. Having said this, Gristle’s ‘mission’ is given philosophical weight through his ideological differences with his brother and tactical advisor, the physically twisted and tragicomical Modo. Through such exchanges, Mr. Remender squeezes in a topical question: when fighting the good fight against drug culture, whom should we target? How far is too far gone? When is an addict past redemption?

All praise to Image for allowing ‘Doll and Creature’ its second time out of the garage, in showroom condition and with a glossy new chassis. In a perfect world this title would probably outsell ’30 Days of Night’ and would certainly outsell the ravening horde of ‘Living Dead’ tangential shamblers currently tumbling off the shelves. It is a fun horrorbilly ride with a two-fisted attitude and a Heck of a lotta heart. Buy it now or start boarding up your windows.

Rating: 9 out of 10

Doom Patrol #18

Writer: John Byrne
Penciller: John Byrne
Inker: Doug Hazlewood
Colours: Alex Bleyaert
Publisher: DC

Reviewed by Ben Marton

It is difficult to say goodbye; especially to a cause one has championed for more than a year, to no avail. John Byrne’s kid-friendly remix of that old adult contemporary classic, the Doom Patrol, began with several strikes against it, shipped reliably month after month with nary a spike in sales, and now it is gone.

And what have I to say about this typically short-lived Byrne project, Dear Readers? More than most, it seems. While it is true that Mr. Byrne may have ruffled a few feathers when he insisted upon a revamp of the ‘new first appearance’ variety for this ragtag team of misfits, second-stringers and macabre accidents of nature, it can be argued that he may simply have wanted to write a series beholden to as little continuity baggage as possible; his studious (and admirable) avoidance of crossovers would attest to that. In addition, more than a few self-appointed experts have held forth in recent times over the perceived deterioration of Mr. Byrne’s art, and while said criticism is generally unfair and unfounded, I will concede to some misgivings when I look back at his work during those halcyon days of the 1980’s, when a steadier, more self-assured hand was in evidence. Bearing this in mind, of course, I would take John Byrne’s worst art over Michael Turner’s best any day of the week. ‘Nuff indeed said.

The conclusion to the ‘Convergence’ storyline wraps up all loose ends neatly. It appears probable that Mr. Byrne had been forewarned of imminent cancellation because this final chapter doesn’t seem as truncated as the end of ‘Lab Rats’; another solid superhero series with trademark Byrnian science-fiction elements. Mi-Sun, the young telepath whose introduction served as the stepping-on point for readers during the JLA crossover beginning, is given the opportunity to confront the troubling elements of her past and readers are given a final window into her psyche. It’s crowded in there; Mi-Sun bears the psychic residue of no less than five other personalities. Here we see Byrne playing another trademark riff: the multiple possession, which hearkens back to the days of ‘Babe’, his wonderfully loony, typically underrated limited series for Dark Horse (Sigh. Those were the days. Remember NeXt Men?) Inter-dimensional hi-jinks abound as Mi-Sun, who sometimes goes by the rather awkward appellation of Nudge, must also deal with an assault by future relatives of the enigmatic Vortex who, it turns out, has links with Negative Man, one of the Doom Patrol staples and a sadly underused presence in the DCU. Meanwhile, two other long serving DP stalwarts, Robotman and Elastigirl (how did Pixar manage to avoid that particular lawsuit?) face troubles of their own…

I’ll file this one under ‘could have been great / wasn’t given a chance’, along with the aforementioned ‘Lab Rats’. One supposes that in such a fickle, direct-sales hampered comics market as we currently endure, a dependable, slow-Byrne-ing (sorry; couldn’t help myself) platform for Sci-Fi flavoured high adventure attracts insufficient interest. Perhaps a marketing director should have advised John Byrne to festoon his covers with screaming headers like ‘Days of United Villains Vengeance on Rann / Thanagar Crisis Tie-In! Now with extra OMACS!’ or reminded him that no self-respecting post-modern comics aficionado wants to read a team book where the protagonists actually get along and even (gasp!) try to help each other out from time to time. Get with the program, Byrne! Where is the paranoia? Eighteen issues and not a single bloody headshot. We want reality in comics redefined for the next highly sophisticated generation and we want it now! Family, schmamily! You’re not a true 21st Century Crime Fighter until you’ve been mooned by a Green Lantern.

Sorry. Lost my head there. Look, to wrap up, I can’t recommend this series because I don’t have the option; as I pointed out earlier, 18 is the last issue. Should these high-concept, well-drawn and compulsively readable stories ever be collected into trade paperback format (I have no illusions that a hardcover will ever appear; you’d need at least one brutal rape scene for that) you could do a lot worse than to shell out those few bucks you were just going to blow on a Psycho-Pirate action figure anyway. This is not A-List Byrne; he seems to have reserved his stronger visuals for ‘Blood of the Demon’. The plotting and characterisation are strong, serviceable superhero fare and you even get a very decent trademark time travel story in there. This title stayed a regular in my Chosen Thirty every month it was published and in that time I never considered dropping it. If I may indulge in a musical analogy for a moment, some comics are David Bowie albums; challenging, exquisitely crafted and forging into new territory. ‘Doom Patrol’ was like a Ramones album; while it was somewhat repetitive and often mined overly familiar territory, you always knew what you were going to get and it never delivered less than what you were expecting.

Fun fact: ‘Doom Patrol’ is one of less than a handful of superhero comics currently on the stands I could recommend to a twelve year-old, conscience intact.

I have been reading comics for over twenty years. I’m very selective about what I read. I liked John Byrne’s ‘Doom Patrol’. End of story.

Rating: 7 out of 10

Dynamo 5 #1

Writer : Jay Faerber
Art : Mahmud Asrar
Publisher : Image

Reviewed by Adam White

Five strangers united by fate and a father they never knew, or WHAT IF Superman had dropped a litter of bastards?

In this post-Ultimates, post-Authority world, DYANMO 5 feels like a throw-back to a simpler time. In stead of irony, commentary and high-concept drama, we get fist fights, banter and matching red and blue costumes, as a small team of novice superheroes duke it out with an army of hooded thugs. Interspersed with the action are some clunky flashbacks intended to introduce our heroes, illegitimate children of the late Captain Dynamo, a thinly disguised Superman analogue (right down to the Lois Lane -like wife). Superhero team comics live or die on the strength of the characters and their interaction, but there's nothing here that compares to the empathy or camaraderie of, say, Legion of Super-Heroes or an X-book.

The comic fails to define itself beyond the notion of “Superman's brats,” as if a natty premise precludes the need for a compelling story. The only attempt at development comes from the dramatic twist ending, which almost manages to intrigue, but is so obvious you can see it coming three pages before it happens. And even that is delivered with a lack of logic that borders on ridiculous. DYNAMO 5 may not have the big guns, big boobs and big muscles of the 1990s, but otherwise it's comics like this that gave Image its “low brow” reputation in the first place.

Although Mahmud Asrar's drawing style isn't earth-shattering, the art is rather good. Half the issue is one big fight, and it's easy to follow the action thanks to his dynamic layouts and focus on the characters. Even with everyone wearing one of two different uniforms, there's no confusion about who's hitting who, or why. The “drama” sections are just as good, with efficient use of panels and facial expressions conveying a good deal of story economically. Ron Riley's colours emphasize the theme of each scene well, from bright and colourful, to muted, to sombre as required. He does seem to have a thing for giving everyone shiny, prominent nose bridges though, which is a bit distracting.

There's potential here for a story to develop, but the journey to get to it will likely only appeal to die-hard fans of conventional, generic, by-the-numbers superhero pulp. Such readers, by their very nature, tend to stick conservatively with the established Big Two fan-favourites, further diminishing any chances this comic might have. For the more sophisticated fan, DYNAMO 5 #1 will seem like a relic from a genre of comics that slavishly churned out the most insipid, derivative, uninspired, content possible.

Rating: 4 out of 10

Elephantmen #8

Writers: Richard Starkings and Jill Freshney
Artists: Moritat and Rob Steen
Publisher: Image

Reviewed by Adam White

Two short comic stories, a letter column, some concept art, a deep and meaningful with Joe Quesada on the nature of Fatherhood and a poem about the horrors of war make this more of a magazine than a conventional comic book.

Looking for some heavy-hearted pulp noir with plenty of gunfire and cynicism? How about if main characters are anthropomorphic herd animals? Fortunately ELEPHANTMEN stops short of Disney or “Furry” talking animal territory in favour of a more conceivable premise – a grim future world in which a genetically engineered soldier class of manimals (known as “Elephantmen” regardless of their derived species) must somehow co-exist with the human population. The opening story of this issue uses the concept to explore themes of conflict, whether on the battlefield or within civil society, disenfranchisement and racial solidarity. The episode feels very short, with minimal plot, but plenty of character-driven storytelling condensed into its duration. It may be just a taste of what this comic has to offer, but it's a juicy morsel and flavour will be recalled long after digestion. Fans of grim and gritty detective tales will find much to like here.

Stripped of the thick dark night-time colour, the underlying artwork is somewhat simplistic, belying the silliness of Babar-like creatures running around in such a coarse setting. However this is not really a problem as no-one, it seems, knows how to work colour into cartoon art like Moritat. The colour is the art, the inking almost totally redundant. Animal hides are rendered with a complexity that brings life to the characters, and the backgrounds are literally awash with grit. The use of contrasting palettes to differentiate the present and flash-back sequences is especially well-handled, with the foggy grey and brown contemporary world effortlessly segueing to the vicious red landscape of wartime and back again.

The backup story takes the opposite approach, with an extremely lightweight, bright and cheery “muck up” tale in which two artificially intelligent PDAs – an Apple iFrog and an absurdly French Monkey C – scuffle for supremacy in a futuristic apartment. Rob Steen's art is appropriately wholesome and attractive, although the colouring seems to border on the amateurish style associated with cheap webcomics. Fans of comedy manga will find much to like here.

Somehow these two extremes are supposed to average themselves out into something that resembles broad-based appeal, but with only two stories most readers are likely to prefer more material that appeals to their specific interest. In a format like 2000 A.D. with more stories and greater frequency this sort of approach could work much better, but as a 32-page monthly seems to spread itself too thin.

ELEPHANTMEN is clearly a labour of love, not just for the fictional world within it, but the medium itself. Sandwiched between the two short stories is an instalment of a regular feature that takes us out of Mystery City and examines significant people and events in the comics industry. This month, Starkings celebrates Father's Day by interviewing Joe Quesada, creator of DAREDEVIL: FATHER and all-round Marvel guy, on his family and upbringing. It's pretty dense stuff and not really comics-related. There's also a one-page BRICKMAN AND TROWEL strip which was apparently considered funny in Britain once upon a time.

This is a unique multi-faceted comic, whose advantages are also its shortcomings. ELEPHANTMEN has the potential to appeal to a large audience either as an anthology magazine or a dedicated sci-fi noir serial, but in its current form perhaps tries to be too many different things at once.

Rating 7 out of 10

Elfquest: The Discovery #1

Writers: Wendy & Richard Pini
Art: Wendy Pini
Publisher: DC

Reviewed by Ben Marton

This week’s review introduces a new feature: subliminal messaging!

Buy ‘Spider-Girl’ and help save old-school comics.

Since its timely genesis in 1978, riding the massive wave of second generation Tolkien appreciation and in anticipation of fantasy shots in the arm such as ‘Labyrinth’ and ‘The Dark Crystal’ as well as any number of Eddings/Brooks/Donaldson pastiches, the ‘Elfquest’ saga has rolled on, with little more than periodical changes of publisher to mark any significant alterations to what has proven a winning formula with a select readership. To the Pinis’ credit, said readership includes a decent percentage of children, especially girls. On a personal note, this title was one of two comics I read this week that filled this old eighties-child with renewed hope for the comics industry. I’ll leave you to guess what the other one was.

(Buy ‘Spider-Girl’ and help save old-school comics.)

If you have a cynical bone in your body, prepare for a compound fracture. ‘Elfquest: The Discovery’ Issue One is light, breezy, pastel-shaded and utterly charming. Having missed some fifteen years of continuity while engaging in some serious ‘Vertigo’-inspired navel-gazing and watching the world of superheroes go you-know-where in a hand basket, I came to this issue unprepared and the first page text synopsis did little to wave away the ethereal mists of my confusion. Cutter and his tribe of Wolf-Riders have fought an epic war against pre-medieval humanity over the possession of some serious real estate called the Crystal Palace of the High Ones. Subsequently Cutter and his lifemate Leetah (oh just go with it!) have adopted an orphaned human, Shuna, who provides a distinctly personly perspective on all the eldritch elfin goings-on, including the immersion of Cutter’s son, once called Suntop but now re-dubbed Sunstream (I suppose you’d need pointy ears to understand the distinction) in some kind of life-extending healing cocoon. Meanwhile Chieftan Cutter wants to re-unite the scattered tribes, which include Sea-Elves and astral travelling Wizard-Elves.

Once again, this reviewer cannot really retain a coherent sense of the plot, but it must be said that…well…there is something about ‘Elfquest’. From its protagonists’ ghostly flights above moonlit vistas of ocean to its quaint Age of Aquarius philosophy (‘Having learned that to be among the Elves, she must cease trying to define or even appreciate them, Shuna’s medieval human mind has opened to many possibilities…’), this opening salvo of hearts and flowers had me captivated, perhaps in part because it shines against the current dingy backdrop of Spandex Chicken Littles and capes-dragging-in-blood mopefests (‘I see some hope and joy over there! Send in another OMAC! And somebody throw some more terrorists at Captain America!’), but also, I would like to think, because of the undiluted vision of its creators.

Wendy Pini’s artwork is characterised by confident flow and elegant simplicity with an eye towards cohesive page design. The graceful, sculpted and skimpily-clad forms of the elves arch, caper and dive about with the disarming, unwitting sensuality of adolescent freedom ideal for an all-ages audience and there is not a trace of pop-culture irony here.

(Buy ‘Spider-Girl’ and help save old-school comics.)

In the world of ‘Elfquest’, mental and spiritual development are thematic underpinnings, visually driven home by the relative aesthetic beauty of the characters, and the attainment of wisdom can confer pfysical transformation. Love is a palpable force for good, although it can be complicated by selfish desires, and unity between those of disparate world-views seems not only possible, but in some glorious sense inevitable.

A comic for all ages that brings joy and lifts the spirit. Now that’s high concept.

Rating: 8 out of 10

The Emissary #1

Writer: Jason Rand
Artist: Juan Ferreyra
Publisher: Image

Reviewed by Jess

From the desk of Jim Valentino comes a new super hero for the ages, The Emissary. When a super powered hero appears in the sky above Times Square the military declare an all out attack on this mysterious person but bullets and missiles are useless against this powerful being. I've never heard of Jason Rand but his writing is competent enough to hold my interest for this first issue, and the art of Juan Ferreyra is also pretty good. If you're looking for something a little bit different, then I'd recommend this book.

Rating: 6 out of 10

Ex Machina effortlessly maintains the high standards set by its impressive debut, continuing its masterful juxtaposition of multiple narrative threads to craft a layered perspective on the past and present of Mitchell Hundred, ex-superhero and new mayor of New York.

The collaboration between writer Brian K. Vaughan and Eisner-winning penciller Tony Harris continues to deliver a story rich in visual detail and distinctive style. Harris and Feister's economical linework and JD Mettler's subdued colour schemes more than compensate for the lack of overt spectacle in an issue and series focused more on real world
situations than spandex action fantasies. The varied choice of shots and framing also helps to break up lengthy 'talking heads' sequences.

While other writers have obvious strength in areas such as characterisation or the imagination of their story ideas, Vaughan seems to be good at everything. The premise of the series is slowly expanding in a number of unexpected directions, the sparkling dialogue approaches the level of a certain other comics writer named Brian, and playing the
opening action sequence mainly for laughs is a fun twist on a somewhat familiar set piece. Particularly impressive is the subway scene, which in four pages both more naturally advances an ongoing plot thread and provides a greater depth of characterisation than whole issues of lesser titles.

Another excellent installment of the best new series of the year.

Ex Machina #18

Writer: Brian K. Vaughan
Artist: Tony Harris
Publisher: Wildstorm

Reviewed by Jack

The most important thing to know about this issue is that if you’ve never read Ex Machina before you could pick this one up and not be too lost, because even though #18 is in the middle of a story arc and is heading for a big finale, the action has only just heated up and you can easily jump in. But do you want to?

This series is a somewhat realistic look at New York City – IF during 9/11 a lone superhero had saved one of the World Trade Center towers and then went on to run for Mayor and win. In this issue we see Mayor Mitchell Hundred (now a retired superhero) deal with one of the many stupid and inane political issues he has to deal with on a daily basis only to be shocked into reality by a ricin (biological agent) attack on an anti-war march in downtown Manhattan. Was it terrorists, or one of the Mayors many enemies from his glory days as “The Great Machine”. The issue ends with the obligatory racist attack on someone who looks like they’re from the Middle East, opening up another potential can of worms for the Mayor.

Needless to say that Brian K. Vaughan has done his best to give us as realistic a book as possible when it comes to the superhero genre. He’s set it in the real world – Bush is president, and the Iraq War is an ongoing thing, and there’s a lot of political and bureaucratic wrangling in this series, and not a great deal of superhero action. At the heart of it all is one mans struggle to do the right thing for the people of his city, while trying to cope with who he really is and what it all means.

It’s a great series, but definitely not for everyone. This issue will give you a good taste of what it’s all like, and if you’ve been curious I’d recommend picking it up and giving it a read.

7/10

Ex Machina Special #1

Writer: Brian K. Vaughan
Penciller: Chris Sprouse
Inker: Karl Story
Colourist: J.D. Mettler
Cover Artist: Tony Harris
Publisher: Wildstorm

Reviewed by Ben Marton

I am not overly familiar with the work of Brian K. Vaughan (yes. I’m the one) so when I was handed a preview copy of ‘Ex Machina Special’ I was eager to crack the cover and see what all the fanboy shouting is about. I’m on nodding terms with the basic premise of the regular series; former crime-buster with a jet pack tries his hand at local politics. I would assume that along the way he discovers that (gasp!) the real villains don’t always sport a yellow power ring or hypnotic top hat. I generally regard a Tony Harris cover worth the price of admission and the words ‘Vaughan’ and ‘genius’ had been married within earshot often enough to register on the ol’ geekometer, but what had kept me away were ominous phrases like ‘superheroes for adults’ and ‘in a more realistic setting’.

Well, what we have in the first part of the ‘Ex Machina Special’ is indeed superheroes for adults, albeit with a sensibility that wrests more truth from the phrase than most big name offerings these days. I was pleasantly surprised to find a creative team who hadn’t interpreted the ‘mature readers’ mandate as license to befoul the air with casual adolescent profanity (although the language is a little salty at times) or to slather whole panels in Tarantino-vintage red (although it is suggested that some very nasty business happens off-panel); the reader is treated to a flashback tale of media manipulation, environmentalist mind-control, the difficulties inherent in superhero public relations and the benefits of bird-proofing your turbine. ‘Ex Machina’ throws verisimilitude and nostalgia into the mix with equal vigour; the contemporaneous issue of compromised leadership is made more palatable for a stalwart Silver Ager like me by jazzing it up with touches of ‘Blackhawk’ and ‘The Rocketeer’.

Masters Sprouse and Story have long been favourites of mine, ever since their sterling work on ‘Supreme’. With ‘Ex Machina’ they achieve a new plateau of greatness, although they don’t do it alone; kudos in no small measure must go out to J.D. Mettler and his (her?) rich and varied colour palette. Bucking current trends, the art is neither sketchy nor self-indulgent; sufficient detail is rendered unto each panel and backdrops are fleshed out or removed as the storytelling needs dictate. If pressed to find fault with the art, I would grudgingly cite the static nature of the facial expressions; Chris Sprouse seems to find it difficult to waver from his characters’ trademark blank stares. In the grand scheme of things, a minor flaw, to be sure. Decent comic scripting can sometimes be buried by intrusive doodling. Sprouse and Story, however, always possess an uncanny knack for allowing the writer breathing space. None of their panels would make a good pin-up, and I mean that very much as a compliment.

Many concepts can drive a great story. An accomplished writer and highly skilled artists can take the most unlikely premise and convince the reader of its validity. The reader can be left with a question to which they always wanted to know the answer, although they never realised it until now. ‘Ex Machina Special’ responds to both of these challenges in the same way: What would happen if a man who could control all machines encountered a man who could control all animals?

Razor-sharp dialogue, art with forward momentum and a wonderfully hokey premise. Pure comics gold.

Rating: 9 out of 10

Exiles #62

Writer: Tony Bedard
Artist: Mizuki Sakakibara
Publisher: Marvel

Reviewed by Jess

Sixty two issues ago the Exiles were sent on their journey to other worlds- their mission: to save them. Now they have come full circle, seeking to confront the being who gave them these missions, the being known to them only as the Timebroker. They want answers to his unusual behaviour of late but instead find only danger in the form of Hyperion, a man who had almost killed them all once before...

Tony Bedard (a former Crossgen writer) looks to have finally gotten settled in on this title, having written it for almost 18 months.

My one complaint about this issue is the artwork from Mizuki Sakakibara. It's decent enough to look at, but I feel more detailed art would work better on this title.

Rating: 6 out of 10

The Expatriate #1

Writer: B. Clay Moore
Artist: Jason Latour
Publisher: Image

Review by Christopher Franks

B. Clay Moore appears to be following in the footsteps of Robert Kirkman in establishing a number of original series through Image in collaboration with talented new artists. The Expatriate's man-on-the-run premise is a strong one, and while its execution is not without its flaws this debut issue and its confident mix of familiar genre elements suggests great potential.

Moore's script quickly establishes a number of narrative threads but keeps them largely separate and distinct in tone. US expatriate Jason Dexter is on the run from the CIA for reasons not yet revealed, hiding out in an unnamed South American republic, and remains coy and mysterious even to stock Latino babe Maria Lobo, with whom he establishes an instant rapport. More accessible and appealing are the 'bad guys', two CIA agents on Dexter's tail who combine a wisecracking double-act with underlying menace and ruthless efficiency in their work, in the vein of Pulp Fiction's Jules and Vincent. They rather than the titular expatriate end up playing the protagonist role in this issue, and the desire to see them catch Dexter and reveal the reasons behind the pursuit is the main dramatic hook at this point in the story.

Newcomer artist Jason Latour makes a strong first impression, mixing the grungy linework of Michael Gaydos with the expressionism of Eduardo Risso or Frank Miller's Sin City work. At times the heavy shadows and gaudy colours are a little overbearing, but effectively establish the alien and slightly creepy atmosphere of the caricatured Latin American
setting.

While at this early stage it's a little unclear where the series and its rather inaccessible main character is heading, the raw talent of both writer and artist is enough to maintain interest.

Rating: 7/10

The Exterminators #1

Writer: Simon Oliver
Artist: Tony Moore
Publisher: DC/Vertigo

Reviewed by Jess

In the battle of bugs vs man, man has usually come out the victor. Now in this new series by Simon Oliver and Tony Moore (Walking Dead), the odds are put in the bugs favour when it becomes known that a high strength chemical used to eliminate them has a completely different effect upon them now.

This is the book Tony Moore left the Walking Dead to work on and his art is just as great as it was on the first 6 issues of the series. I'm not familiar with Simon Oliver's work and it's possible this is his first comics work- which might explain for me at least why it didn't leave much of an impression.

Without wanting to put people off by this review I suggest that you give this first issue a try, as people are aware going by previous reviews of mine, my tastes are mostly grounded in the superhero genre.

5 out of 10

Fables #30-32

Writer: Bill Willingham
Artist: Mark Buckingham
Publisher: DC/Vertigo

Reviewed by Jess

For those of you who grew up listening to the fairy tales of Grimm or Hans Christian Anderson you'll easily recognise the characters in this series. Fables tells the story of a group of mythical characters living in the world of humans after their home was taken over by a mysterious and as yet unidentified being known as The Adversary. In this tale the fable mayoral elections are held, and the townspeople must decide whether to re-elect the current mayor Old King Cole, or elect a new mayor in the dashing form of Prince Charming.

While i won't give away the end result, I will say that Fables has been for me an enjoyable read for the last few years and with almost the whole series collected in trade paperback (a fifth is released in April) this is a great time to start reading this fun book.

Rating: 8 out 10

Fables #43

Writer: Bill Willingham
Artists: Mark Buckingham & Steve Leialoha
Publisher: DC / Vertigo

Reviewed by Justin

My first impression of Fables is to say that it is unapproachable for new readers. As a Vertigo title it is mature and complex. At this point in the series the story has progressed to the point that anyone reading issue 43 as their introduction would have very little chance of understanding what is going on and who the main characters are, or why they are doing what they are doing.

However this is the really wonderful thing about Fables.You should aready know the names and back stories for pretty much every character in the book, because they are all pulled directly from the stories that we listened to as children. Snow White, Prince Charming, the Big Bad Wolf, Sinbad, and so on. Don't expect anything childish about these storylines. These characters may be Fables, but in the Vertigo universe they are real people. People who are defined by there own complex gathering of virtues and flaws, decisions and interactions.

I would definitely recommend picking this one up and having a look through. I myself came into it at about issue 23. You will probably know most all of the characters but don't expect to be bored by more two-dimensional children's stories. This is a world were Prince Charming is as treacherous as he is charismatic. You will meet Snow White, and the Big Bad Wolf, and their seven illegitimate children.

So yeah, issue 43 is as good a place as any to jump on. Just like any comic, you will catch on pretty quick to the story, and dont be suprised if you find yourself looking for the back issues just so you can read more about the fantastically written characters of Fables.

Rating: 7/10

Fables: 1001 Nights Of Snowfall

Written by Bill Willingham
Drawn by a collective of fantastic artists
Published by DC/Vertigo

Anonymous Reviewer

If you had artists such as Brian Bolland, Jill Thompson, Charles Vess, James Jean and Mark Buckingham (among others) in one spot you'd have an amazingly spectacular piece of artwork in your hands, wouldn't you? Well you would actually if you were to read this stand alone graphic novel that introduces newcommers to the Fables world, while at the opposite end of the spectrum providing a tale that established readers of this series can sink their teeth into and enjoy as well as the ongoing series which comes out monthly.

In this story set well before Fables #1 (for all you continuity buffs) Snow White pays a visit to a sultan to aquire his assitance in a possible war with the mysterious being known only to them as 'The Adversary'. But when Snow finally gains an audience with the Sultan he sees Snow as a sacrifice, which his kingdom performs daily. The only way Snow White can get out of this is to tell the Sultan a story every night, and that paves the way for the stories you find in this book. We learn of a king teaching his queen fencing lessons and of the neighbouring war that grows nearer. We learn what happened to Flycatcher's family and many other stories beautifully illustrated in this book. The story is entertaining but it's the artwork that will sell this book for the stories are not all done by the same artist and not in the same style either which is what makes this book such a treasure to look at, page after page. People who already read Fables will undoubtedly love this book and those who have never read Fables before will be able to pick this up and not be hampered by what's gone before and this story is completely stand alone. I hope that by reading this review people will give this book and indeed the monthly series a try and enjoy it as much as I did.

Rating: A+

Fantastic Four #531

Writer: J. Michael Straczynski
Pencils: Mike McKone
Inks: Andy Lanning
Colours: Paul Mounts
Publisher: Marvel

Reviewed by Captain Yesterday (The Artist Formerly Known As The NewFrontiersman)

It is a source of constant amazement to me that both of the Spandex & Angst Big Gun Publishers persist in pretending that their respective milieux are singular in nature and free of pesky continuity hiccups, thanks to an almost annual crossover enema. Any Constant Reader with more than the sensory perception of a credenza and the mental agility of an addled cuttlefish will soon see that this is not the case. How else would you explain the fact that Spiderman still has something to swing through, while over in the pages of The Defenders Dormammu and Umar have just clocked the Universe into unconsciousness and Mr. Fantastic has been visited by a creature of near infinite power and verbosity who commences to show him the beginning of time?

Continuity? Bah! As Conan would say, Crom laughs at your continuity!

A year or two ago, Mark Waid (bless his silver heart!) introduced me to a term to describe the Fantastic Four better than I had ever come across previously. You see, Reed, Sue, Ben and Johnny are not superheroes, at least not in the ‘Great Responsibility / World That Fears And Hates Them’ sense; they are Imaginauts. They ride the wild winds and are buffeted by the capricious tides of ungoverned and ungovernable reality. Many writers have been far too inclined to view Marvel’s First Family as dysfunctional to the point of non-functional. Thankfully, Fantastic Four issue 531 sees them returned to doing that voodoo that they do so well: facing off against swarming aliens, trading soliloquys with luminous dignitaries, and cracking wise while breakin’ stuff.

Long story short: A majestic being of near-limitless power and knowledge has fled Earth-ward, pursued by the tyrannical forces of cultural assimilation (presumably the same civilisation whose nefarious laboratories spawned the Manga virus) to make contact with Dr. Reed Richards and, acting as a kind of Ghost of Christmas Quantum, explaining his plight and simultaneously calling into question Mr. Fantastic’s eternal search for outward illumination at the expense of his inward self. While the FF’s cerebral maestro faces the quandary of what it is to be a Watcher who does not listen, his wonderfully rambunctious family set about the business of pounding tech like there’s no tomorrow.

This, Friends and Neighbours, is the Fantastic Four in their element. Mr. Straczynski, or ‘JMS’ as those wacky acronymicists like to call him, has struck the right balance between cosmic musings and unstable molecule-fuelled mayhem. His plotting narrowly avoids deconstructed tradepaperbackism while the dialogue is smart and sassy. What’s more, he does what is absolutely necessary when tackling much-venerated icons; he plays to their strengths. That J. Michael can range across both the ashen, scarred paranoia of Supreme Power and the ‘T+ Rated’ delights of Marvel’s premiere science-hero cavalcade speaks volumes for his versatility. Mike McKone drives a mean pencil, layering just enough detail to capture the nuances of complex emotion upon the careworn faces of some of Marvel’s most beloved characters. Subtle computer colour grading and restrained application of hard shadow to create the illusion of depth round off the package.

Fantastic Four #531 is not character re-invention and it is not shock and awe. It is a kinetic and thoughtful latest instalment by a creative team that knows the rules of the game and remembers to use every corner of the playground. Proof that you don’t need to poke me in the eye to get my attention.

Rating: 8 out of 10

Fantastic Four #542

Writer: Dwayne McDuffie
Artist: Mike McKone
Publisher: Marvel

Reviewer: Lucas House

So, what are we looking at here exactly?

We have the 542nd (or so) issue of Fantastic Four, the one time proclaimed “World's Greatest Comic Book Magazine.”

A comic about to celebrate its forty-fifth anniversary.

The fifth issue of its Civil War story arc.

Oh, and the original writer has abandoned ship, leaving another writer to pickup the pieces.

J Michael Straczynski has officially left FF two issues shy of completing his story arc, an arc within Marvel's huge Civil War event. What did this mean for new writer Dwayne McDuffie? In some respects not a lot, all the characters are just were they were as of last issue; (The Thing is still in France, Reed is still trying to fight the Good fight for democracy and Sue and Johnny still trying to take back liberty on behalf of Captain America). On the other hand this issue does have a different feel to it. McDuffie tries here to back-peddle and put many of Straczynski's plot points back into the box. In regards to Reed he does a good job finally giving him a reason to follow the pro-registration over his own family. On the other hand I have to wait and see as to how he deals with Ben in the city of love.

The one thing that has been brought about by the Civil War is that the distinction between hero and villain is not as clear cut at the moment. The Thinker (mad or otherwise) was the antagonist of this issue but he didn't ring true to me here. His characterization jumped from scathing at Reeds intelligence to admiring it.

Usually McKone's art is good, his first FF arc was great but this issue seems like he just phoned it in. (I'm not sure how that would work) The backgrounds are basic as is the staging and in the scene with Val and Franklin it looks like Val was drawn by another artist.

This issue was filler at best. McDuffie followed Straczynski's plot to the letter, but it wasn't a very good plot to begin with. I still have high hopes for McDuffie once Civil War is over, I just hate to see what they are doing to this forty-five year old comic book magazine.

Rating: 6 out of 10

Ultimate Fantastic Four #26

Writer: Mark Millar
Pencils & Cover: Greg Land
Publisher: Marvel

Review by J. Walker

I’m not a consistent reader of Ultimate Fantastic Four, but the introduction of Namor was an event I didn’t want to miss.

Namor has been awoken! The King of Atlantis has arisen from the sea! Wait – did I say King, I meant prisoner. Ah, the leniency Marvels Ultimate line of comics offers makes for some pleasant surprises. By not being constricted by the history and lore of the regular Marvel universe there’s a lot more room to breathe when introducing new characters. Ultimate Namor was in fact imprisoned, not worshipped. With his secret found out it can mean only one thing – a showdown with the Fantastic Four!

The arrogance of the original Namor is still present – which is a definite plus. Having the option to keep some of his original traits but being completely different in other aspects is what makes the Ultimate universe so appealing.

Millar’s writing this issue is good – not great. While I’m a huge fan of Namor and Atlantis (thereby probably giving me a semi-biased opinion), I can’t ignore that there’s still a little to be desired this issue. It might be the fact that I’m accustomed to Millar’s excellent work over at ‘Ultimates 2’. Land’s artwork here is very good, reminding me of Bryan Hitch’s work – just a little less detailed.

Overall this was a solid issue.

Rating: 7/10

 

Fear Agent #4

Writer: Rick Remender
Pencils: Tony Moore & Jerome Opena
Finishes: Mike Manley
Colours: Lee Loughridge
Publisher: Image

Reviewed by Ben ‘Have Raygun, Will Travel’ Marton

You may have your own theories, but I generally subscribe to the one that says you can judge how much fun a science fiction series is going to be by the shape of the space helmets. ‘2001: A Space Odyssey’ had those slight wedge configurations with Perspex viewing ports; function over aesthetics. White stormtrooper face armour with triangular eye-slits denotes mass-production and a rigid adherence to continuity. In the case of ‘Fear Agent’, it’s the basic spherical glass fishbowl all the way, with vacuum pipe air hoses and a Mercury vintage cast iron rocket pack to complete the ensemble. When you’re kickin’ pseudopodia and takin’ names out on the mean end of the galactic rim, why mess with the classics?

Having witnessed the gradual (and hopefully not irreversible) deterioration of most mainstream Marvel and DC titles into stiff, self-important, black and occasionally hateful, bloated and histrionic cacophonic operas at the behest of paunchy fanboy editorial teams well and truly in decaying orbit, I am learning to seek high-octane rip-roaring fun elsewhere. The most joyous, goofy and kinetic thrills are to be found currently in the pages of ‘The Goon’, ‘Rex Libris’, ‘Conan’, ‘Invincible’, ‘The Escapist’and ‘Fear Agent’, just to name a few; and none of them belong to the Big Two.

Rick Remender is the hard working scribe of ‘Sea of Red’ and ‘Doll and Creature’ as well as ‘Fear Agent’, so his genre-mashing monster-stomping credentials have been well and truly established. He is a self-confessed devotee of classic-era SciFi (sometime before Captain Taylor actually had the hots for a chimp girl and the Cylons became supermodels), primarily of the Wally Wood EC school. To conjure up Heath Houston, the meteor-hopping protagonist of ‘Fear Agent’, Mr. Remender has taken a little Han Solo, mixed it with a pinch of Hal Jordan, then kicked in a generous helping of Ash to give the growing CyberGeek network the boot on the instep it sorely needs; in short, the Anti-Neo.

Heath Houston is an unshaven, boozy, damaged remnant of a star-spanning affiliation of law-bringers and Marshalls with an itchy trigger finger who lives for the moment and careens from one perilous Flash Gordon style escapade to another. This latest instalment in his sporadically-published adventures sees him trapped upon an icy desolate ruin of a world, bereft of his beloved rocket-jalopy but with stock-standard curvaceous she-scientist in tow, seriously banged-up but nursed to recovery by the planet’s shaggy tech-regressive inhabitants. Will he agree to aid his Neolithic hosts and summon the courage to face a soulless army of robot centurions? Yep. Will he rocket his way through terror undaunted to find his way atop the evil mecha-citadel? You better believe it. Will Heath Houston fight a brain in a jar? Heck, yeah! It’s on the cover!

In case the allusions I have made are too subtle for your Crisis-deadened senses, Dear Constant Readers, let me make it plain: ‘Fear Agent’ is 99% FUN. I refrain from adding that last percentage point because issue four does give something of a nod to pathos; during the story’s bone-splintering climax, Agent Houston is bitterly forced to confront the (thus far un-recounted) loss of his wife and son as he meditates upon the fact that he may be about to face his end. Of course I don’t believe it for a second; Heath Houston is faster on the draw than death.

The only taint of compromise creeping into this otherwise outstanding title is the incremental dilution of the art, courtesy of the dreaded ‘fill-in’ illustrators. The first issue of ‘Fear Agent’ was beautifully and consistently rendered by fast-rising fan favourite Tony Moore with complementary inks by Sean Parsons. Issue three featured assists by Mike Manley, ever a reliable standby for monster and robot set pieces, and issue four adds the slightly lumpier line work of Jerome Opena on selected pages. The word is that Mr. Opena will return next issue as the new regular penciller, along with newcomer Michelle Madsen. This may well turn out to be a minor hiccup, however; the transition in art styles is not overly jarring as Jerome Opena does a passable imitation of Tony Moore’s work. It will be nice to see the new kid on the block’s style develop and push the comic’s visuals on to new frontiers.

Are you tired of spandex ‘event’ shows that are more misfire than restart? Do you yearn for the days when the space lanes rumbled to the raucous tune of liquid oxygen thrusters and it was fist versus tentacle? Are you looking for something along the lines of ‘Starship Troopers’ without the pesky social commentary? Then strap yourselves in, screw down your fishbowl helmets and lock n’ load, Buckaroos! ‘Fear Agent’ brings it, every issue.

Rating: 9 out of 10

Fell #5

Writer: Warren Ellis
Artist: Ben Templesmith
Publisher: Image

Reviewed by Hugh Scobie

Finally! After suffering such a long wait, the anticipation built up over this sweet edition of Fell threatend to ruin the comic for me.

On the first read, I was disappointed. The basic premise of the comic is an interrogation, so the artwork is already vastly limited. It seemed too slow, and some of the points Richard Fell makes relating to tone of voice and body language are lost in the medium.

However! Perserverance paid off, and on a re-read I found myself appreciating the way the story romps along. The fact that it is set almost entirely inside a cubic room in no way detracts from the pace or direction of the story, as Ellis draws you into the minds of the room's occupants.

This edition is where Ben Templesmith's erratic style shines through. The suggestive and perceptual drawings add a depth to the characters that may have been otherwise lost in a more traditional style.

I find myself agreeing with one of the letters in the back section of the comic, which states that the Backmatter of the comic is the most interesting element of the series. It is here Ellis presents us with the problems and solutions he had with the comic in question, as well tidbits of information, such as the reasons behind the low price of the series.

Overall it was enjoyable, but the delay may cause disapointment for some readers.

Rating: 7 out of 10

 

Firestorm The Nuclear Man #23
"One Year Later" Begins

Stuart Moore: Writer
Jamal Igle: Artist
Publisher: DC

Reviewed by Jess

It's one year later in the DC universe, courtesy of Infinite Crisis #5 (pick up a copy today!) and that means big changes for our favourite nuclear powered superhero. He's now sharing his body with a new host after the disappearance a year ago of his mentor and previous host and mentor, professor Martin Stein. But things get off to a shaky start when a radiation cloud threatens to turn Los Angeles into something out of a George Romero film.

There's not much action in this book, mostly setting up the new status quo for Firestorm, but it would have been nice to have some sort of hint as to what's been happening in the year that has passed, even though that will be explained in DC's weekly title 52. This month marks one year later for all DC titles and is the perfect time for anyone who wants to try something new.

7 out of 10

Firestorm, the Nuclear Man #25

Writer: Stuart Moore
Artist: Jamal Igle
Publisher: DC

Reviewed by Wazsa

To me the third issue of Firestorm's One Year later storyline lacked any "oomph". Still setting up a lot of stuff for new characters and old characters.

Changes since OYL this issue seemed to be drawn out. Two pages to get from Earth to the Sun could have happened a lot quicker. Some minor advancement to the OYL storyline and a special surpriseguest star, wasn't enough to keep me that interested.

The artwork was good, I actually like Tamal Igle's work, the colours worked well.

Overall and compared to the last couple of issues this one was a bit of a let down.

Rating: 5 out of 10

Flash #214-216

Writer: Geoff Johns
Artist: Howard Porter
Publisher: DC

Reviewed by Jess

These issues tie into the events of Identity Crisis, arguably the biggest event of 2004. We find in this tale that the previous Flash, who is now dead, had a shocking secret which had haunted him for many years. Leaving this
information in a letter to his nephew Wally West (the current Flash), he admits that when super villains minds were altered after learning the secret identities of heroes like Batman and Superman, he made a decision to wipe the
mind of an old foe of his who had learned his OWN identity. Now Wally West might right the wrongs that his predecessor did.

These tie ins to the Identity Crisis series have been just as enjoyable as the series itself. Fans should clamour for DC to release them in their own seperate companion collection, so others may enjoy these great stories.

8 out of 10

Forsaken #3

Writer: Carmen Treffiletti
Artist: Kristian Donaldson
Publisher: Image

Review by Christopher Franks

Three issues in and Forsaken has yet to progress from its promising debut, stuck in a slow crawl around the block reiterating the same plot and character beats. This issue's script is too similar to that of its predecessor, with a somewhat clumsy and dialogue-heavy expository scene followed by a well-executed but brief chase/action sequence, and the series needs to establish a direction for its story as clear and creative as its visual design.

Kristian Donaldson's angular art style, heavily reminiscent of Soviet propaganda posters, is what initially attracted me to the title. Both the crispness of the linework and frequent touches of flair in the cinematic framing and shot selection continue to impress in this issue, although much more could have been made of the subway jump sequence foreshadowed on the cover. One of the most distinctive young artists to emerge in quite a while, Donaldson could go on to bigger and better things.

I'm less optimistic about writer Carmen Treffiletti, who is struggling to maintain interest in a premise and set of characters that were already leaning heavily towards cliche and stereotype. The Usual Suspects-style mystery team was an effective first issue hook, but the book's disinterest in fleshing out its fairly standard characters -- bitter cop grieving for his dead family, quiet computer hacker, big black guy, enigmatic alien/foreigner -- severely restricts the reader's ability to connect with them. In addition the writing is still plagued by distracting grammatical errors, which are particularly irksome for this reviewer due to his vocation and let down the title's otherwise excellent production values. Image is fast redefining itself as the home of innovative creater-owned books that can compete with the best output of the two major publishers, but a title full of sloppy punctuation is not helping the team effort.

It was recently announced that Forsaken will be going on hiatus after issue six while Treffiletti considers whether to continue the series. One wonders if an interesting ongoing story can be found when the title is apparently running out of steam halfway through its first arc.

Rating: 5 out of 10

Friendly Neighbourhood Spider-Man #8

Writer: Peter David
Artist: Mike Wieringo
Publisher: Marvel

Reviewed by Jess

As a title that kicked off its run as part of the awful Spider-Man:The Other storyline, FNSM has with some of it's most recent issues appeared to have gone from strength to strength.

Peter David, a writer who relies on characterisation to power his stories, writes a pretty cool tale involving the return of what was thought to be a long dead supporting cast member, and a classic spider-man villain with a twist.

My guess is by the end of this storyline we'll find out that the aforementioned dead character really is dead, but I don't think that will matte,r as this first part shows there's more than enough to please.

8 out of 10