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Ghost Rider: The Road To Damnation HC

Writer: Garth Ennis
Artwork: Clayton Crain
Publisher: Marvel Comics

Reviewed by Ash Castle

Let me be Ash, this is my third review with the first two reviews being Punisher titles with all three being written by Garth Ennis and for the record I have at long last read all nine trade paperbacks of "Preacher" too. Now if my Marvel lore is correct The Punisher has teamed up with other superheros over the years, such as; Daredevil, Spiderman, Wolverine, etc but Ghost Rider was the only one to never betray Frank. For this reason there has always been a soft spot in my heart for those whose heads tend to become covered in flames from time to time. I do have a few of the older Johnny Blaze comics in my collection, including the finale where he rids himself of the curse, driving off into the sunset with Roxanne, I never really got into the Danny Ketch Ghost Rider much but I do love the early Ghost Rider 2099 issues that I have.
This trade deals with the Johnny Blaze Ghost Rider who has finally ended up in hell, as his part of the bargain he made for saving his cancer-ridden friend, Craig "Crash" Simpson, all those years ago. Ghost Rider has spent two years in hell. Two years of constant pain, suffering and torture, with no end or hope in sight, no matter how hard he tries to escape. That is until a rogue demon named Kazann manages to break out of hell to fulfil its evil plans of creating a new hell to replace the old hell, one which would make the old hell look like heaven by comparison. Now if you have ghosts you call the Ghostbusters, if you have monsters you call The Monster Squad and conversely when you have much bigger problems than that you really need to call in the bigger guns.
In order to arrest Kazann the angel Malachi makes a deal with Ghost Rider to capture Kazann and in return rewarded him with a "get out of hell" card and allowed to pass go. Things should be looking rather shiny right about now if not for the fact that there are already two other bounty hunters on the trail too, Ruth an Archangel from heaven and Hoss a demon from hell. With these three volatile characters all after the same mark it's not too long before they literally bump into each other, causing much damage and destruction in the process. Along the way there is one satisfying scene where Ghost Rider uses chains reminiscent of Clive Barkers Hellraiser, in particular the infamous character Pinhead.
Overall it's a great road trip that fatefully ends up in of all places Texas, Preacher much?, for one hell of a knock-down, drag-out showdown and just when you think you think you know what going to happen next, guess again? As usual Ennis just wouldn't be Ennis without his quirky trademark sleight of hand, pulling out all of the stops as the final pieces of the puzzle are added to the mix, as if by magic. Equally you do not need to dig too deep to find the religious satire in the scarcely glossed over subtext of this story either, it doesn't dominate the story much but it is there and makes for one hell of a strong narrative, believe it or not!
Now to discuss the wonderful artwork done by artist Clayton Crain, I can only sum it up with one word surrealistic; as it has a very "realistic" look to it and by that I mean it's a very stylised version of reality. Scenes of characters just simply talking look really good, panels showing action scenes seem to leap right of the page and things of a hellish nature look utterly fantastic. The opening pages set in hell have to be seen to be believed. As far as extras in this trade you get the standard cover reprints per chapter, two issue one variant covers in resplendent glory, one by Esad Ribic and one by Clayton Crain, followed by a final page consisting of six cover concepts by Mr Crain.
You may be like me and have grave reservations about the upcoming film staring "self confessed fan" of the comic Nicholas Cage, this is certainly not the case with this trade. Its good to the very last drop and you do not need to know too much about this character as you get a truncated back-story which is great for old and new fans alike. So sit back in your favourite reading place, get your favourite beverage on hand, relax and put the Rollins band "Ghostrider" and "Monster" on repeat and simply enjoy.

Score: 4/5 Flaming Skulls

Gødland #7

Writer: Joe Casey
Artist: Tom Scioli
Publisher: Image Comics

For those of you old enough to remember the Silver Age of Marvel and who hope it will one day return again, it already has.....in the form of Godland. Godland follows the adventures of Adam Archer, whose trip to space resulted in him crash landing on a distant planet and by chance he gained fantastic powers he uses to comabt evil.This issue sees the aftermath of the trial of Discordia, and the arrival of the heavenly Swarm. Joe Casey seems very much a fan of the classic Silver Age stories that Stan Lee and Jack Kirby created together, but writes these stories with a much more modern style which sometimes can be a little grating, especally since some jokes really do make you groan. I've been hearing a lot of positive feedback about this book and those people are right. This book is for all you Silver Age lovers out there and for anyone who just loves to read a good story. For those who enjoy this book and want to learn more of the story pick up the Godland TPB which is out now and is a really fun read.

Rating: 9 out of 10

Godland #11

Writer: Joe Casey
Artist: Tom Scioli
Colours: Nick Filardi & Comicraft
Publisher: Image

Reviewed by Ben ‘Cosmic Mylar’ Marton

It would be an obvious redundancy to state that the world of comics owes Jack Kirby a debt it can never repay. As Orson Welles and ‘Citizen Kane’ are to the realm of celluloid, so does The King’s incandescent hand reach across the unmapped gulfs of space to work its stellar magic even now. Mr. Kirby’s opening salvo of raw high-yield astral awareness may have been in some way supplanted by the lean hunger of Neal Adams or the fresh, funky dynamism of John Romita, but the aftershocks resound still.

As a convert from the very inception of the ‘Godland’ saga, I should confess I had early doubts as to the series’ longevity. After all, it seemed from the get-go to be a bold, unashamedly zany space opera with the kind of Zoroastrian overtones that blessed an entire superhero universe with its own mythology. Hardly a fitting start for a title being launched in this, the Papier-Mache Age of comics. With its perilous astronautics, incendiary family dynamics and trippy visuals, ‘Godland’ was perplexing, charming and breathlessly kinetic. It was also quite unlike anything else new on the shelves. It felt like a title that had disdainfully cast aside market trends and was given allowance to breathe. Surely it couldn’t last?

Well, I am happy to report eleven rambunctious, mind-bending issues and no end in sight. The publishers even display rare optimism in numbering their cover ‘0011’. And well may it break four figures; this is a title with two kinds of readers: those who love it and those who have yet to discover it.

The current chapter sees the escape of the cosmically supercharged astronaut Adam Archer from the chromium Warhollian clutches of one Friedrich Nickelhead (think Doctor Doom with a sense of humour). Meanwhile New York Harbour is menaced by a cyclopean floating three sided ziggurat and three mysterious techno-deities have crossed the Badlands to discover and violently seize a thermonuclear warhead, intending for it some nefarious purpose. And then there’s King Janus, megalomaniacal master of The Never…

‘Godland’ will be of little interest to fans who like their heroes with the words ‘night’ or ‘blade’ included anywhere in their name or who praised the film version of ‘V for Vendetta’ for its insightful political commentary. It is dangerously fun. Joe Casey has drawn deep from Jack Kirby’s aforementioned bounteous well in crafting a cosmology drenched in philosophical enquiry and yet wonderfully distorted by pop culture’s warped looking glass. From skull-in-a-jar psychedelic junkie villain Basil Cronus to the delightful red PVC fetishism of Discordia, a raucous cast of characters virtually pours off the page in a torrent of Earth-shaking anarchic glee. In the grand tradition of high-concept galactic meta-fiction, the heroes are steely but internally conflicted, adrift in a world of careening insanity. When Adam Archer monologues internally about his estranged sisters and the destiny that has enveloped him, one can her Charlton Heston at his teeth-gnashing best in every syllable.

A minor gripe (and it is a personal issue over characterisation rather than an implied critique of Joe Casey’s storytelling prowess) is the rather dismissive treatment of the irrepressible Crashman by the rest of the cast. I will plead self-interest here; I have a weakness for self-righteous ‘Buzz Lightyear’ characters.

‘Godland’ is not only drawn, inked and coloured with a boldness and sense of frenetic distortion that is entirely appropriate, it is actually well designed; one cannot help pausing with each successive issue to appreciate the distinctive interplay of cover title and image, which is achieved without sacrificing a pleasant uniformity of composition.

‘Godland’ is a trip. It deftly interweaves the mythical sensibilities of 60’s comics with an arch post-modern bent to remind us that superhero comics may be the one genre remaining wherein conceptual truth does not necessarily have to censor itself at the behest of realism’s limitations.

Rating: 9 out of 10

Gødland #16

Writer : Joe Kelly
Art : Tom Scioli
Publisher : Image

Reviewed by Adam White

Jumping on to a comic series in progress can be a tricky thing. As a new reader you are often confronted by questions about the title's premise and situation that overwhelm your ability to enjoy the story – who was that guy again? Why did they kill him? Just what in the hell is going on here anyway?

There are numerous ways writers can try to alleviate this problem – make your stories so simplistic and static that anyone who's read one has read them all, explain every character and device's role and motivations in detail every time they appear, or produce the occasional specially-crafted “jumping on point issue” which is exactly what the attractively-priced GØDLAND #16 is.

Essentially this is a giveaway sample intended to hook new readers with a low-risk outlay (about $1.20 standard Aussie price compared to $6 for a normal issue) and plenty of back-story. To call it a “recap issue” would be unfair, there's some story here to keep existing readers involved, but it's obviously intended to cater for newcomers.

GØDLAND is a modern incarnation of the 1960s cosmic sci-fi superhero epic, cast in the mould of Captain Atom, Starman, the Forever People or the Fantastic Four.

This comic is worth more than its weight in gold for the art alone. Every panel is an engrossing Jack “The King” Kirby-inspired tableau. Tom Scioli has done the almost unimaginable and out-Kirbyed Kirby with his outlandish creations, never drawing one line where ten will do the job. Faces are pock-marked, figures are flattened and fattened with bizarre proportions in strange places, unfathomable technology snakes and writhes along walls and floors and crackling dots signify the auras of cosmic powers in action. If you're a pop-art fan, you will love this.

Purists may consider the result a grotesque exaggeration, but, critically, Scioli captures Kirby's more subtle virtues – his amazing sense of dynamic motion and eye-catching layouts. In many of today's comics, action scenes appear as a series of static friezes, like time-delay camera stills, each panel seemingly unconnected to the next. Kirby's art never suffered from this; one panel could portray enough movement to fill a whole book. Where a lesser artist would be satisfied to forge dots and blobs, in recreating Kirby's dynamism Scioli shows his work to be a true homage to the master's craft. This 16-page comic can make a long read as you find yourself engrossed in the glorious detail of each page.

The story presented in this comic gives a good taste of what to expect from future issues of the series. It's as much a setup as a recap. Indeed, the flashback sequences, while well-framed, come off as the weakest part. Being perfunctory and brisk, they give the reader only a hint of what has come before, and may not inspire you to rush out and buy the collected reprints (which is certainly part of the reason this cheapie comic exists). It feels like a lot of the story has been overlooked in an effort to make it fit, and several important questions are not addressed at all. However, it does provide enough information, in conjunction with the story's bookends, to establish the characters and their relationships, which should allow newcomers to appreciate the story, and easily jump-on to the series. The flavour of the story matches the art, and characterisations are well-handled, from the God-fearing military brass debating how to respond to the potential threat of a cosmic-powered former astronaut, to the villainous hedonistic brain-in-a-jar, to the heroic family unit, and the seemingly benevolent, but aloof and self-interested, alien intelligences humanity must contend with in order to survive.

Despite its special purpose, this issue has enough new material to carry itself as a capable part of the series. And if you're on the lookout for some new reading material, you could certainly do a lot worse than check out GØDLAND #16.

Rating: 9 out of 10. A bargain

Gotham Central #26

Writer: Ed Brubaker
Artist: Jason Alexander
Publisher: DC

Reviewed by Jess

The death of a televangelist summons detectives Josie Mac and Marcus Driver from the Gotham City Police Department. When the victim is found to be murdered and appears to have scratch marks left on his face, the detectives begin to
suspect that Catwoman is the killer, but if so why did Catwoman, a renowned thief leave behind a priceless necklace? While visiting her father's grave, Josie Mac is confronted by Catwoman who threatens to expose the fact that Josie has super powers- unless she clears Catwoman's name.

This gritty series pulls no punches in it's portrayal of Gotham's police force and it continues to be one of my favourite monthly reads.

10 out of 10

 

Gotham Central #33

Writer: Ed Brubaker & Greg Rucka
Artist: Kano
Publisher: DC

Reviewed by Jack O'Brien

This review comes almost a month after this issue was released, and that’s because I just picked it up last Thursday to have a read. Better late than never. And before writing the review, I went into the PFC archives to see if it had already been done, but all I found was a review by Jess giving issue #26 a 10 out of 10 rating. I now wish that I had seen it all those months ago so I could have jumped on the title sooner.

Issue #33 is a great read. Lots of dialogue and lots of cop talk. It’s a part oner, so it’s a great time to jump on, and the story is great. This issue is penned by both Brubaker and Rucka, and it looks like they’re working together on this rest of this story arc. The issue has a lot of dialogue, and feels like any good cop show you’d watch on television, and the art by Kano has a gritty urban feel to it with lots of shadows, exactly what you would expect from a crime story told in Gotham City. The only flaw maybe is that there seems to be a lot of cops involved in this story (as you would expect), but it gets a little hard to distinguish who’s who a lot of time, which I think is a combination of the gritty art style and a lack on my part of familiarity with the characters.

The story is a simple one; a kid in a Robin suit has fallen off a multi-storey building and died. The cops are there to investigate; is murder or suicide or an accident, some realize the significance of it (the fact that this could be the Robin) while others see the Batman as the prime suspect. It’s amazing that after all this time the Batman can still be viewed as a criminal, and that’s where the writing shows it’s strength. The investigation goes along at a normal pace, and then POW! you get to the last page and all you want is the next issue. Without giving it away, you know it’s not what it looks like, but you sure as hell what to find out exactly what it is.

The great news is that #34 comes out on Thursday. Perfect timing.

If you’re a Gotham nut like me, jump onto this series, you won’t be disappointed, and if you’re already reading it, then please, feel free to call me a dumbass.

Rating: 9/10

Gotham Knights #67

Writer: A. J. Lieberman
Artists: Rick Burchett (penciller), Alvaro Lopez (inker) and Guy Major (colourist)
Publisher: DC Comics

Reviewed by The NewFrontiersman

The 'Gotham Knights' anthology concept is one with ongoing appeal. When at its best it treats us to a seemingly infinite number of permutations of that wonderful spandex playground of damaged minds, the Batman milieu. This issue, mercifully more-or-less self-contained, upholds that tradition well.

If 'Batman: Year One' proved anything, it is that the best kind of Batman story is one in which the narrator is an outsider or new acquaintance and the Dark Knight's appearances (at least in costume) are infrequent. This story, 'The Life of Riley' takes this lesson to heart and we benefit.

The titular narrator is a down-and-out videographer who freelances recording weddings by day and is paid to tape pornographic scenarios by night. As a reader I was immediately drawn in by this suggestion of dichotomy, the one concept that unites Batman with his best villains. The elegant panel composition of the first page reminded me of one of the things the comics medium does best, using movement of the eye and the contemplative stare almost simultaneously. Such confident page layouts, which serve the needs of the story without shouting themselves at you, are a strong point in favour of this issue.

Returning to the story, it concerns Riley's accidental background recording of combat between Bruce Wayne and Hush, a character who owes a huge iconographic debt to The Unknown Soldier (in fact, that is who I initially assumed Bruce was fighting). Riley notes the unique fighting style, approaches a contact of his who can sell him similar footage of Batman in action - it is a wonderfully played-out scene linking a modern trade in images with the trade in illicit drugs; redolent of the desperate, furtive need for distraction - and you can guess what connection he makes...

Comic storylines where obvious 'why does nobody else see it?'-type conclusions are drawn are often fraught with peril for writers, threatening to invite a flood of re-assessment, but the idea is handled well here. After all, the terror of holding on to a secret is a lynchpin of the Batman mythos. The clandestine meeting between Riley and a steely, barely-in-check Bruce Wayne (on a park bench, natch) is possibly the story's most powerful moment, with self-assured scripting. The shock ending indicates a building storyline involving Alfred, bad dreams and the possibility of mind-control (note to Dan Didio: Please, please leave Zatanna out of this. You've insulted her and us enough already).

The art for this issue is clean and consistent, reminiscent of Steve Yeowell's work on 'Starman', but Rick Burchett is experienced enough to render his characters with a little less stiffness than was warranted here, especially in regards to Batman's combat moves. A standout moment is the panel fragmentation which occurs on page thirteen as Riley's plan falls apart (or does it?).

Overall, masters Lieberman, Burchett and Lopez have provided readers with a solid story well told. Do you have a friend who's understanding of Batman extends no further than Adam West? You could do a lot worse than recommending this issue to them.

Rating: 7 out of 10.

Green Arrow #60
"One Year Later" Begins

Writer: Judd Winick
Artist: Scott McDaniel
Publisher: DC

Reviewed by Jess

Oliver Queen has been many things; archer, superhero, even dead at one time, but now comes the most challenging position of all; mayor of Star City.

I guess it would have been more of a surprise to find on the last page about Green Arrow becoming the new mayor if DC hadn't already spoiled it in their solicits and in online articles, so in reading this rather bland story one has to really perservere and search deep to find any sort of enjoyment.

This 'One Year Later' premise I gather is designed to create a fresh start for any new or lapsed comic reader, but the only character any new reader is likely to recognise in this book is the one who's name appears in the title on the front cover. Characters such as former gang boss Danny "Brick" Brickwell are thrown in and readers who haven't been reading his appearances over the last 15 or so issues of this title are bound to be left scratching their heads wondering who this character may be and why they should really care. Even for me, the promise of a Deathstroke vs Green Arrow battle makes me yawn because of the fact that it's been done so much of late.

I'll stick with this for an arc at least, or for however long I can tolerate Judd Winick's writing.

1 out of 10

Wazsa says:

I would have to disagree with the rating of 1 out of 10 for starters.

The review seems based on the fact that a lot of the info of this comic was out on the net etc before it was released. However there are a lot of people who do not read spoilers (or even solicts) of upcoming comic and believe it or not still people out there WITHOUT the internet.

This comic was a good introduction to Star City OYL. An explanation of what has happened there in the 12 months narrated by the news presenter while is old hat works well to introduce all the players and point out subtle and not so subtle changes and facts that help understand what happened to the city (eg the explosions 12 months before all seem to lead into an arrow figure)

The "surprise" ending should come as no suprise to anyone that's been reading comics, there is talk about the Mayor all the way through the comic and no appearance of Green Arrow. The point of this story is not to point out that Ollie is Mayor but you make you wonder why he would become a part of a system that he has also objected to.

Scott McDaniel's art is good but I would have to admit I'm a long term fan but also find his art suits this book.

Overall I would give this a 6 out of 10 as it is a nice setup for OYL and alot of mystery of what's happened in the last 52 weeks (Ollie must have been around as it's hard to run a mayoral campaign while you're not around, so why hasn't Green Arrow)

 

 

Green Lantern #1

Writer: Geoff Johns
Artist: Carlos Pacheco
Publisher: DC

Reviewed by Jess

Hal Jordan is back as Green Lantern once more but unfortunately it's not that exciting at all.

Too much of the book is spent on setting up the status quo and by the time the villain, an alien robot, appears you really don't begin to care at all. Perhaps Johns should have brought in a classic Green Lantern villain (at least Hector Hammond returns in #4).

The art of Carlos Pacheco lacks the detail of GL:Rebirth penciller Ethan van Sciver(who contributes the art to the first few pages)- I feel it was a mistake getting Van Sciver to open the book before switching to Pacheco's pencils as the result should be a smooth flow from artist to artist, but instead it's too easy to notice and doesn't look good at all.

Rating: 3 out of 10

Hawkman #43

Writers: Jimmy Palmiotti & Justin Gray
Artist: Joe Bennett
Publisher: DC

Reviewed by Jess

Hawkman is dead, long live the Golden Eagle.

This issue tells the origin of the hero named the Golden Eagle and it's a lengthy one, unfortunately. Palmiotti and Gray certainly don't make this a "reader's digest" style origin, but for all you action lovers the last few pages won't disappoint. The story so far is that a group of villains led by Hawkman's old enemy, the Fadeaway Man, have come to St. Roch to kill Carter Hall a.k.a Hawkman. Hawkman's injuries are too severe and he dies only to have the Golden Eagle announce that he was his father which leads to this issue's origin tale.

Joe Bennett has been in the comics industry for many years drawing books such as Dan Jurgens run on Thor, and issues of Gail Simone's Birds of Prey, and he brings pretty much the same style to this book, so if you're hoping for something new then you'll be disappointed. My advice is to wait for the collected edition of this story considering it's been going for the previous seven issues. If you picked this up off the shelf you'd be in for a confusing read. The only reason I don't give this a lower score is due to Joe Bennett's art.

Rating: 6 out of 10

Hawkman #46

Writers: Jimmy Palmiotti & Justin Gray
Artist: Art Thibert
Cover Artist: Adam Kubert
Publisher: DC

Reviewed by Jess

For the last year or so, Hawkman has been on his own adventure while the DC universe moves ever so closer to their Infinite Crisis. Now with this issue, Hawkman finally catches up and finds out his troubles are only just beginning. This issue ties into the Rann-Thanagar war and also sees the return of the Atom, last seen in Identity Crisis.

Jimmy Palmiotti and Justin Gray have been on this book for a while now, and while a lot of their stories have been hit and miss, I'd have to say that this one is definitely a hit. There's even an OMAC appearance to satisfy lovers of action.

I'm familiar with the pencils of Art Thibert but must confess I haven't actually seen him draw comics for quite some time, so I don't know how much or how little his pencils may have improved.

If you've been wanting to pick up this book for a while, well now's the time. This issue wasn't exactly the best read ever, but it's good entertainment.

Rating: 7 out of 10

Hellblazer #206

Writer: Mike Carey
Guest Artist: Giuseppe Camuncoli
Publisher: Vertigo/DC

Reviewed by Jess

After being possessed by an ancient demon in the previous story, John Constantine's friend Chas is not the same man he used to be. Filled now with a terrible anger he goes home and physically abuses his wife, then unknowingly meets with the illegitimate daughter of his best friend (who has only recently been trying to kill Constantine).

This is a powerful story dealing with the difficult topic of spousal abuse and Carey handles it excellently.

Current artist on the Wildstorm series The Intimates Giuseppe Camuncoli does reasonably good art on this issue despite it looking a bit cartoony. I would have preferred regular series artist Leonardo Manco to do this story but Camuncoli does OK and the story is still a great read.

Rating: 9/10

Hellblazer #221

Writer: Denise Mina
Artist: Leonardo Manco
Publisher: DC/Vertigo

What I Liked: I really enjoyed this issue a lot because we've seen these characters for five parts now and with part six everything is beginning to come together. All the various plot threads of the last few issues are explained, and we finally find out what they mean to Constantine, and how much of a threat they are. The artwork by Leonardo Manco is superb, it reminds me, in a way, of the artwork of Alex Maleev. It's a very rough, sketchy, kind of gritty style that really suits the dark tone of this book.

What I Disliked: There wasn't much to dislike about this story. So far it's been great, although it really has picked up speed in the last 3 issues. It's very tough to find much to dislike about this book. The writing is great, the artwork is beautiful. I guess you could say it's nothing really new in terms of a Constantine story, although after being around for over 220 issues you're bound to get a few repeats.

In Conclusion: This is one of the best books out at the moment, and I've had conversations with people who were not happy with Mike Carey's previous run. With a new writer and a hot story this is the perfect time for any lapsed Hellblazer fans to get back into this title.

Rating: 10 out of 10

Hellblazer #216-#222 - 'Empathy is the Enemy'

Writer: Denise Mina
Pencils: Leonardo Manco
Publisher: DC/Vertigo

Reviewed by Jess

A shadowy sect rooted in nine centuries of Scottish mysticism, John Constantine and a mysterious man named Steve Evans. Looked at seperately one might think that these three things have virtually nothing in common, but when Constantine is overwhelmed with feelings of empathy, the connection between these three becomes a lot more apparent. Steve Evans is the head, the Archbishop of the Oransay Order, a sect that has existed for centuries, devoted to bringing their god into our world to hopefully create enough empathy to build a heaven on earth. But Constantine is heading ever nearer toward what could eventually be his swan song: to bring his god into this world John Constantine must die by Steve Evans' hand.

Horror novelist Denise Mina becomes the first woman to write the stories of John Constantine, taking over from previous writer Mike Carey. Her first story, which may seem at first rather long at seven parts, is quite entertaining, though at times often confusing. There are titles that read better with repeated reads and this title is certainly one of them, as there's certainly a lot to grasp here. Leonardo Manco has been an artist in comics for quite some time, having drawn many iconic heroes at Marvel and now settling at DC. This book is perfect for Manco's dark, gritty style. His art reminds me of Alex Maleev, and the detail on the first page of the concluding part to this story is amazing.

It will probably be quite some time before DC collects this in a trade paperback, because they are still collecting Mike Carey's stories. If you are new to the character of John Constantine, do what you can and find a copy of #216, Mina's first issue, and read through this story. Then if you are hooked on this title like I am, I've done my job well.

Rating: 10 out of 10

Incredible Hulk #82

Writer: Peter David
Artist: Jae Lee
Publisher: Marvel

Reviewed by Jess

After the disasterous "tempist fugit" story running through the last five issues, Peter David returns to solid ground with this stand alone story.

Bruce Banner is confronted by the astral form of a young female sorceress. She needs Banner's help in finding the man who killed her physical form before her astral self dissipates forever. Peter David writes a truly haunting, yet touching story, making the reader actually care for this woman in need.

Jae lee's art is perfectly suited to this story and Iam happy to have Jae Lee come back if ever David has another ghost tale in mind.

Rating: 9 out of 10

The Incredible Hulk #79

Writer: Peter David
Artist: Lee Weeks
Publisher: Marvel

Reviewed by Jess

I'm not sure what writer Peter David is trying to tell with this story but three issues in on his return to the title that he's most known for and I'm not that impressed.

Sure the battles are nice and the return of General 'Thunderbolt' Ross is intriguing but on the whole the story just doesn't seem to be going anywhere and feels as if it's a dream that we the reader are witnessing.

The art of Lee Weeks is good enough to make this story readable but sadly not enough to save the story from a dull death.

Rating: 4/10

Infinite Crisis #1 (review 1)

Writer: Geoff Johns
Artist: Phil Jiminez
Covers: Jim Lee & George Perez
Publisher: DC

Reviewed by Jess

Day Of Vengeance, The Omac Project, The Rann-Thanagar War, Villains United.

For six months comic readers have been following these series with one simple message on the covers, taunting us, teasing us, it simply said "Infinite Crisis is coming"... now it's here and once you begin reading you are in for a treat.

If you remember 20 years ago to the original Crisis on Infinite Earths keep in mind that Infinite Crisis is not just a sequel, it stands on it's own as a dark thriller with a high body count and one that looks set to spiral throughout the six other issues to come. The one criticism I would make is that unfortunately Geoff Johns writes this for a fan that's been following the DC universe for a number of years, though if this book does one thing right it will make you want to learn more about these characters.

Rating: 8 out of 10

Infinite Crisis #1 (review 2)

Writer: Geoff Johns
Artist: Phil Jiminez
Covers: Jim Lee & George Perez
Publisher: DC

Reviewed by Clarissa

This one has been a long time in coming, but the build up has been handled well by DC. ALMOST too much build up- the whole "Sacrifice" interruption in Omac Project was so obviously a cheap parlour trick to increase sales on Superman books and Wonderful Woman pre-IC, which I read anyway, but I hear many were unhappy about, and there were many other "tie-ins"- but who cares. We got the jist. Something big is about to happen in the DC Universe(s).

Big it is, too. Inter-galactic war. A return of lesser-used characters. A return of some long-absent characters. Superman, Batman and Wonder Woman continuing their spit at each other (the three-way arguing in this issue was amusing, entertaining and I'm guessing necessary for what's about to happen).

There's a nice feeling to this issue. Well, not a "nice" feeling exactly- but a satisfying one. Lots of people have been complaining about the "doom and Gloom" approach to DC's core titles recently. Wait till they read this! I want Infinite Crisis to mark the end of this dark era. The creators have the potential here to do anything they like... throw in alternate realities and we could have the bold new beginning some people are asking for.

Given this is my first review, I shouldn't be causing a scene. Hopefully it won't look like it when I say that I disagree with Jesse's criticism in his IC review. -I do like Jesse's reviews, honest Jesse!- but I haven't been following DC's books for years and yet I still understood most of it, AND enjoyed it. I haven't read Crisis on Infinite Earths and I don't care. I'm sure that regular, old school DC fans will get more out of it, but hey, to someone who just likes comics?

This is written well and drawn nicely. That's what I want from a comic book.

Rating: 8/10

Infinite Crisis #2

Writer: Geoff Johns
Artists: Phil Jimenez, George Perez
Publisher: DC

Review by Christopher Franks

Fanboy favourite writer Geoff Johns remembers a time when you could open up a DC comic without some bio-mechanical android thing menacing your mindwiped favourite character, and in the exposition-drenched second
instalment of Infinite Crisis spells out through a conveniently sympathetic mouthpiece his grand plan for bringing the good old days back.

If a reference to Kite-Man makes you all tingly inside you may find some value and even entertainment in this sermon on the mount. For those who cling to the idea of coherent character-based storytelling, however, it may be best to let what is hopefully the closing chapter of the DC universe's angsty teen era run its course in isolation.

More than six months of tightly connected and interdependent stories has attracted criticism from the budget-conscious and minimal interest from DC agnostics such as this reviewer. Here this trend and the concept of in
medias res is taken to a bold new level, with scenes directly continuing from other issues without establishing context or the role of these events in the story at hand. When a confused Luthor wonders where he is and what is going on, I feel his pain. The inclusion of the required reading list would have been courteous; providing content at least moderately accessible to those without doctorates in DC continuity, even nicer.

The middle pages of this issue are given to a concise recap of Crisis on Infinite Earths and its aftermath, with guest pencils from George Perez. The metacommentary on the 'corrupted' post-multiverse merged Earth which
'started off so well' but seems to inevitably corrupt even the most pure, with highlights of the darkest (and highest-selling) moments of the post-Crisis era, is hardly subtle. The sinister solution proposed, however, is more than a little surprising. Those who thrilled at the unexpected return of an iconic and long-absent DC hero in the previous issue may be less enamoured of the morally questionable course of action he outlines here.

Artist Phil Jimenez handles an uncomfortably dense script with aplomb, packing almost every page with masterful layouts (and many small panels) to madly cram in a surplus of goings-on. This effort appears to have been at the expense of his trademark detailed rendering, however; many minor and transition panels feel unfinished, and a mysterious force has somehow distorted the noses of the most of the DC universe. With four inkers credited some inconsistency in the finishing is also evident.

Looking at the broader picture, regardless of the state in which it leaves the DC universe Infinite Crisis looks set to at least relieve the creative constipation that has plagued so much of the publisher's recent output. Unfortunately, this purging process necessarily involves the output of a lot of, well, you know.

Rating: 3/10

Invincible #33

Writer: Robert Kirkman
Artist: Ryan Ottley
Colourist: Bill Crabtree
Publisher: Image

Reviewed by Ben Marton

With thirty three issues down and little indication of ever slowing, ‘Invincible’ continues to hold pre-eminence as that most enviable of creatures, the Successful Non-‘Big Two’ Superhero Title.

Recent/current Web-head crossover notwithstanding (more on that later), Robert Kirkman’s take on Spandex Opera incorporates thematic and tonal elements reminiscent of much of Marvel and DC’s best character work, from the awkward, gangly lurch of fractured adolescence and family dysfunction so favoured by The House of Ideas (and I mean the version that still contained the real Peter Parker) to the sturm und drang found in the star-spanning pantheon of righteous titans and haunt of Machiavellian uber-scientists sometimes called The Original Universe (and I mean the one that still had the real Kal-L). The line between homage and naked theft is micron-thin, of course; while Mr. Kirkman’s ongoing examination of what it means to grow into one’s mask falls short of the breathtaking creative robbery exhibited by Erik Larsen in the pages of ‘Savage Dragon’, some very recognisable tropes take up panel space.

The point of all this is to say that when the boys and girls over at the Big Two are on top of their respective games (and not simply aping each other, the better to flood the market with world-rending catastrophe retreads), both the Marvel and DC universes cast a particular shadow, distinct from one another, as implied by the ‘classic’ Avengers / JLA limited series (said implication in lieu, of course, of an actual coherent plot). To combine these tones makes for a superhero title which appears to cast a wide net indeed into our beloved four-colour myth pool, but it is also highly problematic. This tension is both the strength of ‘Invincible’ and its sticking point.

All this brings us, embarrassingly circuitously, to issue 33. ‘Marvel Team-Up’ readers who have been scratching their heads since issue 14 of that wonderful series take heart; we are finally shown what was happening on the other side of that wondrous Vortex that Brings Licensed Properties Together. What critical battle was Invincible eager to return to while he was helping Spider-Man all those months ago? Angstrom Levy, the nattily dressed deranged scientist who resembles Jeffrey Combs in ‘From Beyond’ (or, for those of you under thirty, Michael Rooker in ‘Slither’), has tracked down and is holding hostage Invincible’s mother and adopted half-brother. It seems that Invincible flew in and foiled a potentially hazardous experiment Levy had been conducting and, wouldn’t you know it? The darn doomsday machine exploded, leaving the good professor not only not actually dead, but horribly mutated. Because he retains his amazing ability to create doorways into wildly varying and temporally misaligned alternate Earths (including, seemingly, Kirkman’s own zombie-infested ‘Walking Dead’ zone as well as the aforementioned Marvel Universe), Levy employs it to confound, infuriate and, he hopes, weaken his adolescent foe by throwing up portals in front of Invincible at every turn, almost as if they are the portable hole from the classic Warner Brothers cartoon (for those with shorter memories but a higher geek quotient, think of the ‘Dungeons & Dragons’ spell). As Invincible’s mother appears badly beaten by the sadistic scientist and his recently discovered brother is particularly vulnerable, the hero’s rage is palpable and the reader feels his dire sense of urgency strongly. Herein lies the problem, however…

I really wanted to enjoy Invincible’s blind careening through worlds of articulate dinosaurs and ridiculously overblown 90’s comic-style cyborg villains more than I did; Mr. Kirkman furnishes the reader with a plethora of chuckle-worthy single panel gags that would not have looked out of place in the outstanding Giffen/DeMatteis run on ‘JLA’ in the 1980’s (about the last time the Justice League was truly fun and before its memory was besmeared by Didio and his instruments of revisionist Armageddon). The problem, as mentioned above, is one of violently clashing and seemingly un-reconcilable tones. For a writer of Kirkman’s versatility this should come as no surprise; it sometimes seems to me that ‘Invincible’ none-too-comfortably spans the abyss between his snap-frozen bleak ode to Romero-school existentialism, ‘The Walking Dead’, and his primary-coloured fanboy love-letter turn in ‘Marvel Team-Up’. From Levy’s maniacal quips and panel-chewing mugging of the pulpiest variety (take that, Alan Rickman!) to his bloody and (pretty much literal) undoing as part of a sombre lesson for Invincible in what happens when a demigod uses his powers in anger, is too far a tonal arc to travel in under thirty pages. Tragedy and comedy make for compelling bedfellows, it is true, but in an age when the ‘black’ in black humour has almost become a redundancy, there are too many arguments over who steals the covers. At least when Erik Larsen isn’t doing it.

All this being said, Robert Kirkman is a fine teller of tales and his dialogue crackles along with just the right blend of hip irony and gee-wiz super-goofiness. Ryan Ottley, shamefully under-represented in this top-heavy review, attends the drawing board with verisimilitudinous detail and confident precision, delivering a side order of blocky but satisfying Silver-Age Lite, hold the Manga. Bill Crabtree prefers solid fills of even colour over the recent trend towards airbrushy computer colour shading effects and this definitely works in the title’s favour, enabling the employment of one of comics’ strongest thematic devices, the signature colour. The whole package is classy, consistent and compelling.

In the final analysis, ‘Invincible’ rises above its niggling dramatic identity issue to gift the dedicated reader with attractively-presented musings upon the roadblocks encountered on the journey towards caped adulthood (well, Invincible doesn’t wear a cape, but a metaphor’s a metaphor). Aficionados who miss the Peter Parker of old would do well to test drive this newer, sportier model for a while; they may come to realise that the Hero with Human Problems has not, thankfully, been completely replaced by the Hero with Political Issues. This humble reader hopes that it will be a long time before Invincible is finally, er, vinced.

Rating: 7 out of 10.

Ion #1

Writer: Ron Marz
Artist: Greg Tocchini
Publisher: DC

Review by Lantern's Light

A great new start for a well known DC character, Kyle Rayner, who now has more power than it seems he can control. Ron Marz pens the character he created just over a decade ago quite well, with Greg Tocchini as the artist who can really deliver in his drawings the amount of power tearing at Rayner. With an awesome cover by the current GL artist Ivan Reis (who's been called the best GL artist since Neal Adams and Gil Kane) that's sure to impress.

In the recent DC blockbuster Infinite Crisis, Green Lantern Kyle Rayner was drastically changed when, as part of an assault team in space, he received the energies from a dying comrade, Jade. Now he is Ion, the torch bearer of the Green Lantern Corps, although I'm not sure if he knows it. He was Ion once before when he had absorbed the power from the central power battery allowing him god-like powers. As Ion he didn't need a ring or power battery as his power was completely internalized. He could be in multiple places at the same time, stopping wars on a distant planet while saving a baby from a fire in NY. Now though it seems there isn't as much control over these immense powers, as in a scene where Rayner lashes out at two Lanterns who try to help him, distraught amongst the wreckage of an entire planet. This scene is illustrated beautifully in large panels, pay attention to his mask here.

The book seriously slows down just when you want more action, bringing you back down to earth, giving you an insight into where Kyle is as a person in the DCU one year later. It has always been Ron Marz's goal to make Kyle the everyday man, someone that could be any of us, so expect plenty of character moments besides the action.

Initially to be released as a 12 issue series, DC is keeping this one open and decided not to put 1 of 12 on the front cover. With fan support, I believe this tittle will see more issues, if it keeps the opening standard up.

An added note of interest, in 1994 after Supes was killed and Batman was replaced, DC wanted to shake things up a bit with GL by creating an environment where there was only one Green Lantern and attract new readers. The GL scribe at that time, Gerard Jones, penned a story where the gaurdians that went on a pilgrimage with their Zamaronian conterparts at the end of the previous GL series returned and the gaurdians that were running the Corps during those first 47 issues were really imposters. The Lanterns chose sides and there was a civil war of sorts between them, Hal Jordan entered the power battery and absorbing its energies he emerged changed, he was THE PROTECTOR. He would no longer need a ring, his power was internalized. Sound familiar? But it wasn't to be, editorial wasn't impresseds and Ron Marz was called in with a weekend to get a script together, what was to be Emerald Twilight. Something just now rectified, and now it is yet to be seen in this post IC DCU whether or not Emerald Twilight is still in the history or if Hal Jordan was ever the Spectre due to ol' thumpy Superboy Prime altering history.

Score: 4 out of 5 lanterns

Infinte Crisis microview

As we reach the end and count the bodies we realise the villains were a couple of wash-ups from Crisis on Infinite Earths all along. IC was undoubtedly entertaining but weak at the same time, floating in the wake of the massive steamer that was Crisis on Infinite Earths. Now you must prepare your wallets for 52! The return of Booster Gold to your living rooms and the soon to be next event that's aiming to be bigger than IC. Thats right, bigger.... PREPARE!

3.5 out of 5 dead Flashes

Iron Man #2

Writer: Warren Ellis
Artist: Adi Granov
Publisher: Marvel Comics

Review by Christopher Franks

The outstanding first issue of a high-profile relaunch of Iron Man saw a new creative team set the bar very high. In the second installment artist Adi Granov continues to provide stunning digitally painted visuals, but writer Warren Ellis stumbles with a plodding script.

An engaging opening quickly gives way to an unfortunate Warren Ellis trademark, the substitution of exposition for story. In the middle of their investigation into the theft of the Extremis biotechnology Tony Stark and his companion rather implausibly decide to visit an old friend, who proceeds to lecture them and the reader for the remaining two-thirds of the issue. While his observations on the US military-industrial complex and scientific research connect with an earlier discussion involving the board of Stark Industries, it is unclear where the story is going with this point. Further ramblings about DMT and psychedelics try to hint at the nature of the Extremis threat, concurrent with a graphic and horrifying sequence showing it in action, but come off as Ellis attempting to be cool by talking about drugs.

The continued strong characterisation of the title character and the emergence of an interesting adversary suggest the potential for a great story, but Ellis needs to refocus on the fundamentals of writing rather than the incidental details.

Rating: 6 out of 10

Iron Man: Execute Program TP

Written by: Daniel and Charlie Knauf
Pencilled by: Patrick Zircher
Publisher: Marvel

Reviewed by Jesse

Writers Daniel and Charlie Knauf, mostly known for television work such as HBO's Carnivale, craft a thriller that has Tony Stark framed for murders that he may or may not have committed. After exposing himself to the extremis virus (note: as seen in the Extremis tpb) Tony Stark and Iron Man are now the one man. No longer needing the inconspicuos briefcase to conceal his armour in, Stark can literally transform into the armoured avenger at will. The story itself explains that politically sensitive dignitaries are being murdered and all traces appear to incriminate Iron Man.

The idea to do this is clever as even by the end of the second part when we witness Iron Man leaving the scene after apparently murdering someone, we are likely to think that he has turned traitor. But as always there is more to the story than what lies on the surface.

What i didn't like about this story was the reworking of Iron Man's origin to basically suit the story's purpose. It was originally established back in 1963 that Tony Stark met professor Yinsen, the man who developed the old crude version of the Iron Man armour in Vietnam, for the purposes of this story and to make Iron Man's origin more modern, the Knauf's have made this meeting occur in Afghanistan which to me just seems totally ludicrous, as it implies that Tony Stark has only been Iron Man for a few years.

The artist on this is Patrick Zircher who made his name as an artist on marvel's Thunderbolts series a few years ago, and his art style is not too bad in this collection. Zircher is a competant, yet also a regular artist and can almost handle a montly book, but from the computer generated styles of Adi Granov to this takes a bit of getting used to.

This is a fast paced story, with many twists and turns to delight those who enjoy that sort of thing.

Iron Man Hypervelocity #4 of 6

Writer: Adam Warren
Artist: Brian Denham
Publisher: Marvel

Reviewed by Adam White

Once upon a time, a story like this could have been told as part of the regular IRON MAN title, without needing its own miniseries (it probably wouldn't have been six issues long either). But Tony Stark's too busy these days, as the Scumbag Representative of an Evil Government who guest stars in more comics than Wolverine, to be going into comas so his armour suit can develop an AI persona and have a cyberpunk-inspired adventure of its own.

Writer Adam Warren tries really hard to invoke the spirit of a William Gibson or Rudy Von Rucker story, with computerized life, malware, goth chicks, exotic weapons and experimental drugs filling their parts. Unfortunately one crucial aspect, efficiently understated supercoolness , was tragically overlooked. This comic flounders like a drunken mech at an undersea rave party under the weight of its overwrought script. There's not a lot of dialogue, but most of it is inarticulate and cringe-worthy. Worse still are the over-used, long winded narrative captions that are piled on so thick they threaten to crowd out the art. Like some kind of deformed offspring of Golden Age ultra exposition and modern age internal monologue, except it neither illuminates the plot nor provides meaningful insight into the character. Instead, it just makes Iron Man seem dreary and Warren amateurish. The scene where the evil intelligent computer virus infesting Iron Man's systems blows his cover (he's disguised as a broken robot), for example, couldn't have been accomplished any more poorly on purpose. It's an affront to plotting and dialogue.

Brian Denham's art doesn't gel well with the story. He does a good job at depicting vehicles such as a SHIELD assault carrier and its complement, but everything else is weak. The Absynthe character is the lamest looking cyberpunk goth grrrl ever. Fights are difficult to interpret, and although individual panels are often well drawn, the sequence of images does little to enhance the story. Even the lettering is dodgy. Where's Iron Man's cool font? He should always have a cool font, especially if he's been replaced with an AI-construct. There's one scene depicting the transmission path of a communications signal, which uses a series of captions that are way too large, filling half of each panel with text, like placards from a museum display.

Getting your pseudo-science right in a sci-fi story is always a tricky issue, and a good attempt is made to (ham-fistedly) deliver a novel idea about underwater fighting using super-cavitation. Unfortunately it won't pass the plausibility test with anyone who knows anything about the subject. The AI aspects of the story are better handled, because nobody knows how they work anyway, and a self-aware digital replica of a real person ought to think and act exactly like a real person. Any insight into the human condition that could be obtained from a story about a computer that thinks it's human is ignored, at least in this issue, in favour of action. The number of intelligent mecha in the comic raises questions about the tech level of the Marvel Universe. Sure they have cloned gods, adamantium alloys and unstable molecules, but these sorts of things work best as background details, or in isolated cases. IRON MAN is always a comic at the leading edge of technology, but here all semblance of realism is jettisoned in favour of a full-on futuristic sci-fi scenario. Which is fine, but it seems inappropriate compared to the classic Marvel style of telling fantastic stories in a real-world setting.

Rating 4 out of 10

Jack Cross #2

Writer: Warren Ellis
Artist: Gary Erskine
Publisher: DC

Note: The absence of a mature readers label on this title is surprising to say the least.

Reviewed by Ross

Jack Cross is Warren Ellis' latest creation to see print. In the past two years (while endorsing a work-horse attitude that I admire) Ellis seems to have meandered about, sifting through many new creations, giving them all too-familiar traits and no depth. Personally, I think right now Ellis needs to concentrate his commitment to a series or two that shows he can once again move above a creative level that dangerously flirts with mediocrity. Now having said that, I tend to enjoy most of his works anyway; I can almost always rely on a decent story, normally with the use of subject matter that interests me, and perhaps a twist or two somewhere in the tale to keep me interested.

When reading the first issue of Jack Cross, I was in very familiar territory with my expectations for this series. Does it have promise? Certainly. Could it be something special? Probably not.

After two issues, Jack Cross has impressed me considerably.

On the surface, we have blatant commentary on world events, conspiracies, international espionage, U.S. spy agencies at odds with one another, violence and a no-nonsense lead in the form of mystery man Agent Jack Cross- this is usual Ellis fare. What raises Jack Cross above his other releases of late (with the possible exception of Fell #1) is a genuine sense of intrigue, a fast pace and artwork that perfectly complements the story. This is no over-statement; Gary Erskine (a collaborator with Grant Morrison on The Filth) creates the perfect feel to this espionage title, both detailed when necessary and emotional in its presentation.

Jack Cross himself is very questionable as a "good-guy", yet his actions (while refreshingly blunt and to the point) show a semblance of decent moral priority. Cross also "feels" authentic, especially in his methods of deduction and interrogation. He's the infamous agent every espionage outfit would find tough not to admire. That is, as long as they were unaware of a SERIOUS problem, and issue #2 highlights this.

I sniff a man getting perilously close to having had enough of his profession. I'll admit my bias; this tried and tested tangent appeals to me no end when in good hands.

By the way, this series has no inkling of super powers (I hope I'm right) nor guest appearances by any "supers". It needs to stay that way.

In two issues, Jack Cross has succeeded as a serious story. I don't need Jack Cross as a title to last long, but it does need to run it's natural length. Whether this is seven issues or seventy, only Warren Ellis and Gary Erskine could say. I can say however that this series smacks of care and integrity. It also has that "feel" about it - this story wants to be told, and it should be a fun ride right to the end.

My hat is off to Ellis and Erskine for the start of an apparent -dare I say it- commitment to Jack Cross.

Rating: 8 out of 10

JLA Classified # 4

Writers: Keith Giffen & J.M. DeMatteis
Artists: Kevin Maguire
Publisher: DC Comics

Reviewed by Jerome Withers

Way back in 1987, I got on board the newest version of the Justice League. Being 12 at the time I was instantly impressed with the line up (Batman, Dr Fate, Captain Marvel, Martian Manhunter) and was blown away by the smart dialogue, wonderful artwork and the new team dynamic and direction. The creative team took the bold step of changing the name to Justice league International (JLI) and created Justice League history.

Due to the constraints of DC’s editors the JLI team couldn’t use most of the DCU big guns so they took on second and third string heroes and made the book more about the characters than the action and created a cult classic. After an unforgettable run they stepped aside from the book five years later.

Now Giffen, Maguire and co are back following on from the Eisner award winning Formerly Known As The Justice league and they will be getting stuck into Marvel’s The Defenders very soon.

I love this book and its characters. I’m thrilled they’re back in my life again.

JLA Classified # 4 has the former JLI team moving at express pace. The JLI books were known for the sharp banter between the players more than the action and there is lots of it here. It does appear to be something of a super hero sitcom, but for mine, it provides a wonderful break to DC’s other super teams and their near identical lineups (JLA, JSA, Titans, Outsiders).

As usual the gag routines are predictable, the page layouts are simple and effective and Kevin Maguire’s facial expressions are incredible. The characters are also in top form – Booster Gold is as shallow as ever. Fire is still a bitch and Sue Dibny is as tough, smart and merciless as they come. It’s a damn shame they killed her in Identity Crisis.

In short, this book is fast paced, funny and beautifully put together by some of the best in the business.

Rating: 9 out of 10

Jonah Hex #1

Writers: Justin Gray and Jimmy Palmiotti
Artist: Luke Ross
Colorist: Jason Keith
Cover: Frank Quitely
Publisher: DC Comics

Reviewed by Warren L

For those new to the character, Jonah Hex is a scarred, ex-Confederate soldier turned bounty hunter who roams the American west, bringing to it his own version of justice. The early tales had a distinctly supernatural tinge to them, fitting in perfectly with Jonah’s unsettling visage.

One of the more distinct and recognisable of DC’s creations, Jonah Hex was always an intriguing character. His scarred face immediately gave him a mythic quality, but not so much in the traditional ‘good warring with evil’ manner. Although the ‘good guy’, Jonah was always a bit of a bastard, and only too willing to kill the bad guys if the occasion called for it. The real question was whether cold justice would give way to colder vengeance. Think a wild west version of The Shadow in approach to dealing with the villains and you’re sort of getting there.

Jonah Hex first appeared in All Star Western, later Weird Western Tales, then had his own series, which ran 92 issues, and most of the tales were pretty good, despite Jonah losing some of his mystique when we were given an origin story early in the run. At the end of the 92 issues, Jonah Hex was transported to the future for the short lived, and nowhere near as good series, “Hex”.

Since then, Jonah Hex has made sporadic appearances over the years, the best, and weirdest of them being Joe R Lansdale’s trilogy of mini-series, published under DC’s Vertigo label.

And now, at long last, Jonah Hex returns in an ongoing monthly series.

Based on the first issue, the series is in good hands and, although not published under the Vertigo label, it’s good to see that none of the character’s edge has been lost.

'Giving the Devil his Due' is a stand-alone tale that also looks like it could be the start of some interesting changes for the character.

Things kick off with a spaghetti-western finale style ‘pre-credits’ sequence that reintroduces Jonah and deftly brings us up to speed on Justin Gray and Jimmy Palmiotti’s take on the character, his motivation and his somewhat interesting relationship with God. In fact, everything you need to know about the 2005 version of Jonah is there on page 4. Basically, Gray and Palmiotti just say “here’s Jonah” in four pages and then it’s into a new story. Very neat.

The story itself is very much in the Jonah Hex mould. Jonah is hired by a crippled big game hunter to track down his kidnapped son after the conventional law of the sheriff and Pinkerton’s have failed. Jonah’s hunt takes him to a travelling sideshow that offers the good citizens of the West the spectacle of children and dogs fighting to the death. The none too subtle, but effective theme being that Jonah, the scarred, amoral killer is a actually the moral centre. But it works, so no complaints here.

What also works are the moments where the reader gets to fill in the blanks. Not everything is spelt out for us, but nor does it need to be; sometimes knowing what happened off-screen has more impact than seeing it. Of course, I could be wrong about what happened between Jonah’s night time visit and his reappearance at Romanoff’s tent, but I don‘t think so.

While the solution to the story is easy enough to work out, the real fun is in the way it gets there. Gunplay, beatings, bloodshed and a grim piece of retribution that is pure, classic Jonah Hex take us up to the affecting epilogue. The only thing that seems to be missing is Jonah’s sardonic sense of humour that was especially brought out in the Lansdale stories. On the other hand, this tale's sombre tone probably wouldn’t have suited it anyway.

A real plus to the book is the art of Luke Ross, richly coloured by Jason Keith. The panels have a vibrancy and sense of movement to them, with impressive compositions and angles, particularly in the dialogue scenes, which at times seem to have more movement in them than the action scenes. It’s something that I haven’t seen done this well for some time.

And as for Jonah Hex himself, well, there was always a strong argument that he was more than a little inspired by Clint Eastwood’s 60’s/early 70’s western persona. But here the influence is unmistakable, with Jonah’s features being pure Eastwood in many of the frames. And why not? If anybody should have played Hex on the screen, it was Eastwood; we didn’t get the film, but this is a more than acceptable consolation prize.

The only real quibble is the cover by Frank Quitely. While it shows Jonah’s features in all their anatomical glory, and is a pretty damn good rendering of the character, it isn’t as good or effective as the artwork within; nor does it quite match the tone of the book.

The closing words of the final panel and the details of issue 2 indicate that from here, Jonah Hex could be going where he hasn’t gone before, and the trip looks like being an intriguing one.

Long time fans should start rejoicing that Jonah Hex is back in an ongoing series and new readers will hopefully want to keep riding with him.

So, on the basis of issue 1, if this turns out to be the start of a new, long lease of life for the character, as Jonah Hex himself would say, “seems fair”.

Rating: 9/10

 

Jonah Hex #3

Writers: Justin Gray and Jimmy Palmiotti
Artist: Luke Ross
Colours: Jason Keith
Cover Artist: Phil Noto
Publisher: DC

Reviewed by Ben Marton

A dark frontier awash with moral ambiguity reigns. Desperate men crawl through the slime of their own pungent compromise. Few can be trusted and fewer still can be looked up to. Unfortunately I’m talking about the superhero DCU. ‘Jonah Hex’ reads like an episode of ‘Bonanza’.

Labouring through issues one and two this reviewer just couldn’t put his trigger finger on it. A partial answer was provided off-title, however, when Gray and Palmiotti’s other ‘period’ piece, ‘Red Sonja: One More Day’ was sampled. Evidently a duo of experienced writers can be of assistance to one-another when dialogue editing is needed, but when neither can construct a remotely interesting or even logical plot, well, it is abundantly clear that this is not a partnership of Lennon and McCartney proportions. In the aforementioned sword, sandal and brassiere epic Sonja rides into a village, scowling all the while, consumes many a backdrop-less panel spitting her eternal vow that no man shall ever have her at every man she can find, fights an epic battle which she wins only with some decidedly masculine aid, vows that no man shall ever have her, then…rides away.

The Jonah Hex tale, ‘Eye for an Eye’ is only marginally more interesting. An admittedly intriguing complication arises when the maimed protagonist comes across the site of an apparent redskin massacre which, he quickly deduces, is not the work of Native Americans, but…have you guessed it? That’s right, friends and neighbours, it’s those wily ol’ rascals, local corrupt law enforcement again. Yes, civilization is the real savage here! Those of you in the back who put your hands up first, you get to write an episode of ‘Deadwood’. Hex then rides into town during a rainstorm provided by Acme Dramatic Effect Boosting Services Limited, says good evening to a Native American who wanders on-panel just to prove our hero isn’t a bigot and delivers the bodies of the real killers, freshly and righteously perforated, up to the Sheriff and also brother (gasp!) of one of them. Staring contest. Jail. Gloating. Verbal confrontation on the subject of moral relativism. Then it seems we reach the point wherein either Gray or Palmiotti or both have recently rented any number of James Bond DVD’s from Blockbuster. Rather than, oh, I don’t know, shoot Hex while he has him helpless in a jail cell, Head Baddie places our hero in a coffin while he is STILL CONSCIOUS and ineffectively tied up and…buries the coffin? Nope. Throws it into a ravine? Uh-uh. That’s right…the coffin is tossed into a river so that the Central Casting henchmen can snigger to each other over a death they will never witness. Does Jonah Hex bite it and earn a Boot Hill dirt nap? Well, no, but since by this stage I had decided not to proceed to issue four it didn’t matter. The last couple of pages feature a live scalping, since Lennon and McCartney finally realised after two and three-quarter issues that they were writing a ‘mature readers’ title.

Oh, and as advertised, this issue features a guest appearance by Bat Lash, who wears a flower in his hat, speaks like a dandy and has no discernible personality.

The shortcomings in the writing should be evident by now, so on to the art. A reasonably rich colour palette does little to revive Luke Ross’s pencils, which manage to imitate life in the most unfortunate sense of the phrase; a series of events seems to be unfolding but little stands out. To address the title’s most obvious and wince-inducing piece of gimmickry, casting actors in comics is nothing more than a really bad idea. To cast Clint Eastwood in the central role of a western title reeks of a superficial understanding of the genre. Mr. Eastwood is a fine actor and an even better director, but no comic title worth its salt needs star power to sell it any more than a Superman film credit would require Nicholas Cage.

I don’t know what is contaminating the water over at the DC Editorial offices, but their architecture is certainly askew because the shadows are in all the wrong places. While our superheroes pander to readers’ adolescent upper-middle class angst and guilt by examining a seemingly endless cycle of violence and mistrust, ‘Jonah Hex’ should be the book aiming for ‘Unforgiven’ status. What we get is a ‘Tombstone’ aesthetic; cheap, telescoped melodrama listlessly kicked around by parchment-thin characters. There’s a new opening in my chosen thirty this month. I tried to like this one. I really did.

Rating: 4 out of 10

Jonah Hex #8

Writers: Jimmy Palmiotti & Justin Gray
Artists: Dylan Teague & Val Semeiks
Publisher: DC

Reviewed by Jess

This is not the first issue of Jonah Hex that I've read, but it is the first one that I've enjoyed. I first picked this book up when issue #1 came out on the back of DC's other and more popular western title Loveless and at the time wasn't really impressed by either series. This story is very good for new readers as it's self contained and doesn't require you to know anything about Hex's history. The story follows a former companion and friend of Jonah's who arrives in town injured, but is he telling the whole truth, or is there more to his story that he's witholding. If you like this story and are keen to read more, then have a look at the DC Showcase: Jonah Hex volume containing over 500 pages of Hex stories.

8 out of 10

JSA #83
"One Year Later" Begins

Writer: Paul Levitz
Artists: Rags Morales & Luke Ross
Cover: George Perez
Publisher: DC

Reviewed by Jess

In what looks more like a job for a medium than a super team this issue finds the Justice Society beset by ghosts from their past, and these ghosts aren't of the friendly type. "Gentleman" Jim Craddock aka the Gentleman Ghost explains that the reason for this is because the JSA are about to die. For the first time in this issue the ghost's origin is finally revealed in stunning sequences drawn by Luke Ross (Spectacular Spider-Man, Way of the Rat) with present day scenes drawn by Rags Morales (Identity Crisis, upcoming Detective Comics run). Levitz has only recently come back to the writing fold - having written Legion of Super-Heroes many years ago for DC - and so far his scripts have been pretty entertaining. If this is to be the start of a new trend - editors at DC who can write competently - then I'll be pleased. This is another of the One Year Later issues from DC which seems to be all the rage this month, which makes it a great starting point for any lapsed or new reader to start with.

Raiting: 8 out of 10

J.S.A Strange Adventures 1-5

Writer: Kevin J Anderson
Artist: Barry Kitson

Publisher: DC

Review by: Jess

When Johnny Thunder, friend to the Justice Society Of America starts writing his own tales of J.S.A adventures, the team make him their historian. However, Johnny doesn't realise he's going to be part of J.S.A history instead of writing it when a zeppelin carrying a man by the name of Lord Dynamo appears in the United States skies... and the Justice Society are called into action. After draining both the cosmic rod of Starman and Green Lantern's power ring, Lord Dynamo steals Johnny Thunder's magical thunderbolt. While Johnny is depressed over the loss of his friend, Lord Dynamo kidnaps writer Jack Williamson in order to make the writer write his own story. When Williamson finds Johnny's thunderbolt still alive, he contacts his newly found friend Johnny to inform him and also warn him of Lord Dynamo's plan.

Is Johnny too late to save the world and his thunderbolt friend? Only time will tell- or at least until the next issue is released!

This 6 issue mini series is an ideal read for fans of classic superhero adventures.

Rating: 9 out of 10

JSA Classified #1 & #2

Writer: Geoff Johns
Artist: Amanda Conner
Publisher: DC

Reviewed by Jess

Karen Starr is Power Girl, a superpowered alien of Kryptonian origin, cousin to the man of steel right? Well not anymore. Power Girl being told she was not Kryptonian (back in an old J.S.A issue for continuity buffs) now has to decide whether or not she wants to know her past. Unfortunately she may not get much of a breather to decide as she is attacked repeatedly by villains who seem to vanish as if they never were there.

Geoff Johns very nicely recaps what we know or knew of Power Girl's origin in the first issue of this new title which will from time to time spotlight different members of the J.S.A, so people who just want to pick this up off the shelf don't need to worry that it will be impossible to understand and for the fans of continuity there's still a fun story to be read. The art from Amanda Conner is alright, if lacking detail, but I think to myself that there's worse out there.

Rating: 7 out of 10

J.S.A Classified #1-3

Writer: Geoff Johns
Artist: Amanda Conner
Cover Artist: Amanda Conner(regular cover artist), Adam Hughes(#1 cover variant)

Reviewed by Jess

I was looking forward to this series, given that we'd find out Power Girl's origin at last, and also 'cause it was written by Geoff. What disappoints me in this story is that three issues in and it's been the same plot per issue, i.e Power Girl has hallucinations and the other heroes think she's insane. Geoff's a good writer, and a good writer when writing an origin story would've given something to tantalise the reader by now, yet we're all hanging on until #4 to find out the info we've been waiting for.

The art of Amanda Conner I could easily pass on, but it grows on you I guess.

The only thing that's really worked throughout this story is the clever marketing ploy that's suckered us all in.

Rating: 2 out of 10

JLA Classified #s 4-9
Featuring “I Can’t Believe It’s Not the Justice League”

Writers: Keith Giffen & J.M. DeMatteis
Artists: Kevin Maguire (pencils) and Joe Rubinstein (inks)
Publisher: DC Comics

Reviewed by Jerome Withers

Way back in 1987, I got on board the newest version of the Justice League. Being 12 at the time I was instantly impressed with the line up (Batman, Dr Fate, Captain Marvel, Martian Manhunter) and was blown away by the smart dialogue, wonderful artwork and the new team dynamic and direction. The creative team took the bold step of changing the name to Justice League International (JLI) and created Justice League history.

Due to the constraints of DC’s editors the JLI team couldn’t use most of the DCU big guns so they took on second and third string heroes and made the book more about the characters than the action and created a cult classic. After an unforgettable run they stepped aside from the book five years later.

Now Giffen, Maguire and co are back following on from the Eisner award winning Formerly Known As The Justice League. They’re currently working their magic upon The Defenders at the moment.

I love this book and its characters. I’m thrilled they’re back in my life again.

JLA Classified # 4 has the former JLI team moving at express pace. The JLI books were known for the sharp banter between the players more than the action and there is lots of it here. It does appear to be something of a super hero sitcom, but for mine, it provides a wonderful break to DC’s other super teams and there near identical line up’s (JLA, JSA, Titans, Outsiders).

You could read this series and say to yourself at the end of it that nothing has happened. You’d be right. There are plenty of JLI stories where there is plenty going but not much ever really comes of it. It’s part of the charm.

This collection of stories has the team being banished to Hell due to the dimwitted and ignored Booster Gold. Along the way they encounter Etrigan the Demon, their former teammate Ice and their evil duplicates in a parallel universe.

The highlight of this 6 parter is that the star of the show has returned. The one and only Guy Gardner is the tough, arrogant, scheming bastard he always was. This is the best display of Guy Gardner I’ve seen in well over a decade. It’s a gutsy return to form that also shows that he can also be a smart, decent caring individual as the series progresses.

Despite the bickering and lame jokes from all of the members of the Super Buddies they are all in fine form, and as with Guy some have begun a return to form.

The introduction of the sweet, innocent, Christian Mary Marvel to the team, her friendship with the bitchy, sarcastic Fire and her dominating brother Captain Marvel makes for an interesting trio. As much as some old Shazam fans may hate this series this is the best version of Mary Marvel I have read in years. She actually has a personality, beliefs and standards.

It’s nice to see someone do something original with the Shazam characters instead of having them fight and make up with members of the Superman family.

Even Booster Gold finally starts to smarten up by the end of this book. It’s great to see him come around to being an important member of the JLI family again. Reading this series while Identity Crisis and DC Countdown is out has been tough. Seeing some of my favourite characters being born again in one book and seeing them poorly written and killed in another is extremely disappointing.

There is plenty of dialogue and clever one liners to take in during this series but there is also some gorgeous artwork. Kevin Maguire brings these characters to life with beautiful facial expressions ranging from the sheer terror on their faces at the sight of Guy to the long walk with Ice and losing her again.

I was really hoping for an ongoing series. Alas, that is not to be. After the way the original JLI was run into the ground in the early 90’s it was great to have the old magic back again. Fire, Ice, Booster Gold, Blue Beetle, Guy, Ralph, Sue and Max looked and sounded like they should once more.

I wish someone who cared about these characters as much as Giffen and co. does would take these characters and do something fun with them again.

In short, this book is fast paced, funny and beautifully put together by some of the best in the business. Do yourself a favour and buy it!

Rating: 9 out of 10

JSA Classified #12

Writer: Stuart Moore
Artist: Paul Gulacy
Publisher: DC Comics

Reviewed by Jesse

Stuart Moore is a writer who at the moment has a lot of comic projects being or about to be released. The story running in this title for 4 issues (and this is the 3rd )is some of his best work.

Vandal Savage has lived for tens of thousands of years, but when he discovers he has a brain tumor he devotes the rest of his life to hunt down and destroy his nemesis Alan Scott, also known as Sentinel. When Scott encounters the original Sandman, a former member of the J.S.A is he greeting an old friend or walking into a dangerous trap?

Providing the art on this arc is Paul Gulacy who if DC doesn't give a regular job on an ongoing title to, then I believe they must have rocks in their head. The cover alone to this issue is a reason why Gulacy deserves a regular title.

Rating: 9 out of 10

Justice #3

Writers: Alex Ross & Jim Krueger
Artists: Doug Braithwaite & Alex Ross
Publisher: DC

Reviewed by Jess

The DC universe right now is filled to the brim with their Infinite Crisis storyline and it's associated tie ins. But what is there for those who are not fans of crossovers? What is out there for people who want to read a story that doesn't make you have to pick up another book to see the continuation of a story. That book is here, and its name is Justice. Jim Kruger, writer of the Earth X series and its sequels starring Marvel heroes now comes to DC along with painter Alex Ross, and artist Doug Braithwaite (Universe X, Paradise X) to create a visually breathtaking story starring DC's superteam, the Justice League of America. Aquaman has been missing for weeks and not even the greatest detective, Batman, can find him. Can the Martian Manhunter have any more success? For Aquaman's sake he'd better, but first he must survive a deadly attack from Gorilla Grodd. It's dark days ahead for the JLA as Luthor assembles a team of villains ready to take control of the world. This is a really great series that you don't have to pick up a thousand other books to understand, so for those who have yet to give this a try, do so. You may be pleasantly surprised.

Rating: 9 out of 10

Justice #4

Story: Jim Krueger & Alex Ross
Art: Doug Braithwaite & Alex Ross
Cover Art: Alex Ross
Publisher: DC

Reviewed by Ben Marton

When an issue ends with a full-page spread of a beaten and dishevelled Superman screaming ‘Help me!’, you know the ante has been upped, big time.

Fellow ‘Earth X’ alumni Alex Ross and Jim Krueger have re-united to craft an arresting, beautifully rendered tale which pits the Justice League of America against an alliance composed of their most frightening nemeses. Originally arriving somewhat under the radar in light of DC’s more hysterical events to boost sales, ‘Justice’ soon became what I like to think of as ‘Infinite Crisis: The Better Alternative’ (much in the same way I regard ‘All-Star Superman’ as The Man of Steel Written By Someone Who Cares). The villains unite once again, but this time the accumulation of dread comes from a logical escalation; a co-ordinated attack manipulated by villains with a clear agenda, not Superboy punching somebody’s head off because they never sold well.

Should you need proof positive that ‘Justice’ is well and truly Alex Ross’s baby, you need look no further than the fact that what we have here is essentially a Super Friends’ story for adults. It is the Legion of Doom we all know and love (complete with loony marionette Toyman and early Trek vintage Brainiac) versus the best incarnation of the Justice League. Ross wilfully ignores continuity of the last two decades and I salute him for it. Make no mistake, this thing is dark; issue one opened with one of the most chilling visions of Armageddon I have witnessed thus far in any medium and things kind of went downhill from there. Unlike Infinite Bodycount, however, this limited series has been entirely self-contained and beautifully paced, with each and every character remaining true to their origin and motivation.

The intrigue of the story has been handled masterfully, giving even this seasoned reader pause for reflection. Lex Luthor, Brainiac, Sinestro and other dastardly heavy-hitters have pooled their considerable resources to begin healing the world of its more prosaic ills: famine, disease and environmental duress, making the point that their caped and utility-belted opposition have traditionally done little to cast their godly eyes down upon such immediate, decidedly ‘homefront’ concerns. What’s more, the unrepentant villains make no move to decry their earlier acts of perfidy! They are what they are, but (and entirely logically) it is their world too. What if this is so? What if Superman, Batman and their kind deal only with the sexy problems? And there you have it: our finest heroes are questioned, not on the basis of their level of heroism, but on their motivations; their perceived inability to react to true crises. Nobody had to snap a neck or build an OMAC to make the point either.

By issue four, of course, an agenda becomes clear, as Luthor, magnanimous as he seems, begins to speak of changing the world to create ‘cities without struggle’, for those who are ‘tired of doing it themselves.’ Yeah. Right. Krueger and Ross prove every bit as able to cut to the pure essence of their villains as they are their heroes. Luthor emerges as a boardroom fascist. Solomon Grundy is a savage force of nature. Sinestro is an elitist, egocentric thug. Mighty opponents for mighty heroes.

The art of ‘Justice’ combines Doug Braithwaite’s absolutely rock-solid command of the rendering of the human figure with Alex Ross’s rich painted palette and deft interplay of light and shadow. Although initially I had my reservations about anything that was not pure, unadulterated Ross, the fusion of these two is truly a match made in Heaven. Placed opposite such exquisite visuals, ads seem a blasphemy; I cannot wait to re-acquire this story in trade-paperback or (please!) hardcover form so that I may enjoy the art unencumbered by Heroclix and quarterbacks with milk moustaches.

I know the status quo will be returned. I know the good guys will win. Right now, though, the danger feels real. None of the elements are unique or ground-breaking in their insight. Nevertheless, ‘Justice’ is what I like to describe as a template story. It is an illustration of what can occur when consummate professionals unite to lovingly render the primary elements of their favourite mythos; to remind us why a particular incarnation of comic-book superheroes have imprinted upon our collective consciousness beyond the narrow and cannibalistic clique that is fandom. Give me one thrilling story well told over any number of crossover events. ‘Infinite Crisis’ may be for hype-slaves who bow before twisted editorial policies; ‘Justice’ is for people who love good superhero comics.

Rating: 10 out of 10

Justice #6

Writer: Jim Krueger
Artist: Doug Braithwaite & Alex Ross
Publisher: DC

Reviewed by Wayne Baker

There comes a time in all our lives when we must put aside our differences, band together and face the peril head on. Wearing cool costumes. Also, throw our friends and allies into the heart of the sun.

That is the opening premise for the latest installment of ‘Justice’ by Jim Krueger, Doug Braithwaite and the ever snug-busting Alex Ross. The plot thickens in this issue, as the villains of the DC continue their reasonably one-sided assault on the Justice League of America (despite the majority of the members coming from either outer space, robot factories or wherever the hell they build those things, underwater cites or mythical islands of hot looking Amazon women…) with mixed results.

As stating in the opening paragraph, there has to be some “thrown into the heart of the sun” action for Superman to rid himself of- ahem- “mechanical worms” that threaten to influence the Man of Steel’s morals and judgment… also all his powers. Most of won’t need to be thrown into the heart of the sun by Captain Marvel to rid us of worms. Most of us can take Combantron (or one of the no-frills worming tablets if you’re poor).

If you have not started reading this series stop reading this and go out and get it. Beg the comic book guy for as many issues as are required and get cracking. Don’t worry about friends, family, loved ones or careers. They will only get old and die, leave you or tear the arse right out of your soul. Krueger’s story combined with Braithwaite and Ross’s second-to-none renditions of these comic book icons, on the other hand, will only serve to rock your face right off your skull and will continue to do so for many years to come (I imagine). We’ve already seen the world destroyed while Superman and the Justice League exhibited pusillanimous efforts to prevent it, the Riddler get stomped by a nightclub full of Batman groupies, Martian Man hunter incapacitated by a giant Gorilla and Superman get his arse kicked and then dish some up to Batman. And that is merely a blip of what has happened over the course of this story.

This comic series is gold, and you can expect for the graphic novel to become another one of those debaucherous Alex Ross omnibuses of greatness. Each character is a delight to read and the story moves with a swiftness that can only be building to a phantasmagorial climax, the only gripe being that it comes out bi-monthly, which serves to add to the suspense. Second hand information says that this is only the tip of the ice-berg, as we are up to issues 6 of the 12 part series, with many more DC characters to yet join the fray, both for those bastardly baddies (who are doing nothing but good when they are not stomping on various members of the Justice League) and the immaculate goodies (who when they are not turning on each other like a family of vipers seem to be doing nothing at all about the baddies except getting their arses handed to them).

This review does no justice to this series. It’s going to be one of those timeless things that seem to be generated by Alex Ross that when it comes out we all think, “If only I had bought those when they came out the first time”.

Rating: A+

Justice League Of America (J.L.A) #107-109

Writer: Kurt Busiek
Artist: Ron Garney
Publisher: DC

Reviewed by Jess

Whilst normally I am a fan of Kurt Busiek's work in the past on titles such as DC's the Power Company and Marvel's Avengers and Thunderbolts,his stint on J.L.A so far leaves little to be desired. While reading though the first three parts of an eight part storyline featuring the return of the evil other-dimensional counter parts of the Justice League (the Crime Syndicate of Amerika), I found it extremely difficult to work out what exactly was
going on.

I dread to think what a new reader to this title would make of this story at it's present juncture! Garney's pencils look a lot less rushed than normal which is about the only positive I can give this book. As a fan of Busiek's work,
I hope that subsequent parts read a lot better.

Rating: 5 out of 10

Justice League Unlimited #20

Writer: Paul D.Storrie
Artist: Rick Burchett
Cover: Ty Templeton
Publisher: DC

Review by Jess

Ok confession time.

When I was a kid I used to read my sister's Archie comics. I'm sure that back then she wasn't too happy about her younger brother reading stuff that wasn't his, but I found them enjoyable. If you have a kid brother or sister or even have a child of your own, then this is a comic that you should perhaps introduce them to.

Based on the Justice League animated series writer Paul Storrie tells a heartwarming tale featuring Mary Marvel who just wants to be seen as more than the "girl" version of the Marvel family. I've never been one for comics based on animated series; in fact I don't think that this title is even aimed at me, but none the less I really did enjoy it.

Like I said previously, introduce a young one to the wonder of comics with an issue like this and you'll see how much fun they can have.

8 out of 10

Justice Society of America (J.S.A) #68

Writer: Geoff Johns
Artist: Don Kramer
Publisher: DC

Reviewed by Jess

In this story we see flashbacks of the original Justice Society of America being forced to either unmask publically or disband by the american government. Writer Geoff Johns makes all past history instantly accessible telling the reader what needs to be known to enjoy the story, whilst encouraging the reader to find out more.

This is a dark tale which is well drawn by regular series artist Don Kramer. I have enjoyed this series for many years and am always wanting more by the end of each issue. This book is a great read and grabbed my attention from beginning to end.

Rating: 9 out of 10

Khan #1

Writer: Tom Defalco
Artist: Don Hudson
Publisher: Moonstone

Reviewed by Jack

I talk a lot with my fellow geeks about comics, and one thing that doesn’t get mentioned enough is the lack of ads in the Indie titles. It’s so nice to read a book from cover to back page and not be interrupted by ads every second or third page. This little tidbit makes a huge to difference to my reading enjoyment and definitely has me seeking out as many Indie titles as I can to my reading list.

A colour cover for a black and white comicbook. It just doesn’t seem right, but it wasn’t going to stop me picking the book up, it just felt a little deceptive. This is the first Moonstone book I’ve ever read and the production quality was excellent. 3 years ago I would never have picked up a B&W comic, mainly because I was an ignorant snob, but with age comes wisdom and now I find the lack of colour an interesting alternative, and often a clever artistic choice. The decision here (assuming it was an artistic one) was very wise as this story has a mythical, almost otherworldly feel to it. The characters names, the tribes and the very land they live on could easily be a distant planet from a long time ago, or a post apocalyptic world thousands of years into the future. In this global community that we are all a part of these days, it’s hard to believe that this story is based on fact/myth from a not too distant past.

As was mentioned in a previous review, the cover of this book has little to do with the actual story. This is an origin issue, and the name ‘Genghis’ does not even get mentioned in the script once. Instead we see the birth of a boy to a local warlord who has to fight his way through life to become the warrior who will lead the world one day. It would have been easy to show the boy as some mythical superhero; instead he’s shown as a greedy power hungry youth clawing his way through life and trampling on others along the way. It’s only at the end that the reader can safely assume that this boy will one day be Genghis Khan. There’s no romanticism here, but a semi-realistic look at the dog eat dog world of ancient Mongolia.

The writing, as expected was flawless from Tom Defalco. He shows us different Khan’s all struggling to expand their power base while being ever watchful of those wanting to take that power away. And Defalco seems to have done his homework on this culture, effortlessly using names and nouns as if he were a Mongol himself. The grammar tends to have a Yoda feel to it, but all it does is add more authenticity to this tale. The pencils here are great, with lots of emotion and great shadowing. The action gets a little murky, but the art helps to envelope you into this alien land. Don Hudson also has a slightly sinister feel to the way he draws these characters helping to keep you on the edge of your seat as you wait for the next betrayal. I picked this issue up on a whim and I am very happy with what I’ve read. My only concern is that the editorial at the back puts a doubt into my mind as to whether or no there will be future issues.

Verdict: 8/10

Loaded Bible: Jesus vs. Vampires #1

Writer: Tim Seely (based on a story by Tim and Steve Seely)
Penciller: Nate Bellegarde
Finishes: Mark Englert
Colours: Rex Justice
Publisher: Image

Reviewed by Ben Marton

Every now and then a comic comes along which presents the casual viewer with a slightly laughable, somewhat cringe-worthy premise, seeming to promise either Robert Kirkman style irreverence or vitriolic satire dressed up in the tatty flannel of college dorm room insouciance a la Garth Ennis, then upon closer reading offers a solid narrative which upholds an intelligent conceit, crafted characters and social commentary which refrains from bludgeoning the sensibilities. As is so often the case in comicdom, however, the title’s iconoclastic, wilful sidestepping of easy categorisation is both its greatest strength and clearest weakness.

Those of us who have ever had to answer the question ‘what is Bubba Ho-Tep about?’ will sympathise with the difficulty inherent in even beginning to try to clarify the plot of Loaded Bible. Few brave souls outside of the comics intelligentsia will be able to tear through the story’s quivering dermis to sup upon the sanguine goodness therein. Go ahead. Try it. Find some addled civilian for whom this may well be the first comic reading experience, show them the Golgothic cover image, then try to illuminate the finer story points about the return of the Son of God to a post-apocalyptic wasteland, there to cut his bloody swath through a host of gashing night-pointies. My mother took one look at Loaded Bible and almost immediately manifested the expression of one who has suddenly been handed a dead stoat. Rack browsers who have had their fill of Bloody Marys and Battle Popes will seek gentler pastures and this is something of a shame; they’re missing a real cheek-turner.

Once the obligatory Heck-in-a-handbasket mashing of the West has been glossed over (Twin Towers? Check. Bush Junior avatar? Check. Coalition cannon-fodder and flag-burning Saracens and puffy straight-arrow evangelist? Check) the Creatures of the Night skitter and ooze onto the stage and the story pulls away from the curb. It seems the jug-suckers have been hanging around here and there, in their Nosfera-twos and threes, haunting the shadows silently like emo-leeches in power suits and ready to put the big hurt on humanity now that its last vestiges have banded together and, apparently, taken up residence in the Epcot Centre (a vehement dislike of anything related to Pauly Shore precludes my use of the word ‘bio-dome’). On to the sandblasted stage strides the Ex-Carpenter, decked out in his best ceremonial whites and wielding the largest sword since Hellboy started brandishing the local architecture to make sushi.

Groaner dialogue pops like ‘holy spit’ notwithstanding, this is one Messiah who takes his job seriously, and the rollicking scenes of him dispatching vamps with grace and precision doth rock verily. Nate Bellegarde and Mark Englert render their combat panels with a point-to-point kineticism which belies the current comic trend of tangentially suturing ludicrous poses interspersed with choppy speed lines; Jesus almost languidly carves through his opponents with an artistry that hearkens back to the slow-motion cinema of Sam Peckinpah. The sinewy, hatchet-planed construction of the characters recalls the work of Kevin O’Niell from his Marshall Law days, evoking just the right worn-thin desperation in the work’s principal players. The colour palette is, naturally, rich in wine red and kidney purple and staccato editing allows the inclusion of a surprising amount of story into this single issue, possibly because the title’s future is till tentative. All-in-all, the art is there to serve the story and not vice-versa; this goes a long way towards strengthening the foundation beneath an ambitious, (delightfully) perverse concept.

Although the worn-thin spectre of genetic modification raises its weary head in the tale’s ‘shocking’ denouement, Loaded Bible flashes its charms in a manner largely straight-faced, doing what comic storytelling, that last bastion of the wildly improbable, has always done best, and that is to all but dare the reader to clip its angelic wings with logic; to sell a wild concept with swagger and misdirection, unfettered by the po-faced infidels who would stress the real over the true. Look past the misleading cover and pay little mind to the surface glare of the idea. What will you find? A stand-up hard Fantasy story with no apologies and little explanation. We don’t have to believe this story; it believes in itself.

No loaves and fishes, but loads of vicious.

Rating: 7 out of 10.

Loveless #7

Writer: Brian Azzarello
Artist: Danijel Zezelj
Colourist: Patricia Mulvihill
Publisher: DC/Vertigo

Review by Matthew

Loveless is part of a recent new wave of Westerns that I'd put in the same cultural movement that's giving us things like Deadwood, the Jonah Hex revival, as well as modern day neo-westerns like Kill Bill Volume 2 and Robert Rodriguez's El Mariachi trilogy.

Set during a confused period of American history known as the Reconstruction, a time immediately following the Civil War, Loveless' first story arc follows Wes Cutter and wife Ruth upon their return to their hometown of Blackwater, Missouri. Wes is a former Confederate guerilla and veteran of some of the war's ugliest episodes. Ruth stayed in Blackwater for the war, keeping company with Wes's brother Johnny, until she was violated by a gang of Union soldiers in the house she and Wes shared. Both are deeply damaged individuals, and though they seem turned totally villainous by their respective sufferings, Azzarello succeeds in making them somewhat charismatic. It is only through the extensive use of flashbacks that we piece together an idea of how radically different Wes and Ruth were before their wartime experiences.

The series' third protagonist is former slave and then Union soldier, Atticus Mann. As a black man in Reconstruction-period South, Atticus' life is a tenuous existence of survival, something he seems adept at. Although not innocent of heinous wartime deeds himself, he is nonetheless the most relatable of Loveless' characters. In a story where all of the characters are about gain, forward-motion, and the challenge of the status quo, Atticus is the only character with time for reflection. As consumers of stories, especially those set in unfamiliar times and places, we often rely on at least one voice in the narrative that looks around the world in which their story is set and asks "why?" Thus it is through Atticus that Loveless finds its anchor.

Of Loveless, writer Azzarello has described it as 100 Bullets' "dark twin", and sure, there are similarities.

So why isn't it as popular?

Whereas 100 Bullets, now around its seventieth issue, has only just begun using flashbacks as a major storytelling device, Loveless has been using them heavily since issue #2. Flashbacks with characters we've only just met tend to make for less effective stories than those with long established characters. Furthermore the characters inhabiting the world of 100 Bullets have the luxury of relying on the masterful art of Eduardo Risso, whose distinctly and consistently drawn characters can seamlessly become younger or older from the mere curve of a line, Frusin is far less successful in presenting characters at different parts of their lives. An attempt at compensating for this problem is made by using different colour schemes, something that should have been taken a bit further. That said, a clever writer should be able to suggest the past, without ever having to show it explicitly.

It might be that Azzarello's slow build might prove to be a little too slow for some readers this time 'round. In a story where even the main characters keep most things hidden from the reader, it takes a patient comics buyer (now mostly consisting of 100 Bullets fans) to invest in the eventual pay-off. On the upside, the clumsy opening story arc is out of the way and we are now half-way through a three issue cycle of stand-alone, character-driven issues focusing on each of Loveless' protagonists, which may just manage to keep people reading the series.

The first five issues of Loveless were drawn by Marcelo Frusin (he returns for main art duties in issue #9) an artist Azzarello had previously worked with on Hellblazer. Frusin is an artist in the vein of Frank Miller, or Risso for that matter - artists who have a special knack for pairing down the body language of scenes to their essentials. His panels are full of eyes, teeth, and clenched fists. One of the main lasting impressions of his run on Hellblazer is Constantine's sneaky eyes, cheeky grin, fag, surrounded by dozens of squinted eyes, somber, puzzled, and afraid. Eyes that just dont understand the man in front of them, a mood which worked very well with that comic as one feels that was the characterization Azzarello was going for. By comparison, his work on Loveless feels like a lifeless affair, overly stoic, his characters often difficult to tell apart.

It is heartening then, that beginning with issue #6 and going through to issue #8, Loveless's fill-in artist is Danijel Zezelj. Unlike Frusin, Zezelj's art is completely in tune with the messy randomness of real life that Azzarello's story requires. His murky inks paint a world of shadowed uncertainty that - not unlike the characters - contains the kind of moral complexities that form the heart of any good Western. It is here that Loveless begins to find its own voice, as for the first time its characters feel like real people.

Rating: 7.5 out of 10

Lucifer #64

Writer: Mike Carey
Artist: Peter Gross
Published: DC Vertigo

Reviewed by Jess

I first became aware of writer Mike Carey's work on Hellblazer some months back. Now, I've turned my attentions to the second Vertigo book he writes. Lucifer holds much in common with Neil Gaiman's Sandman, possibly because some of the characters he used in his series appear from time to time here, but more so because there's the same sense of magic and mysteriousness as well. It's a little difficult to summarise what's been happenig because I'm only a new reader myself, but I'm a reader who has become hooked by this universe's happenings and anxiously wait for the next issue to come out just as I do with Carey's Hellblazer!

Rating: 8 out of 10

Lucifer #66

Writer: Mike Carey
Interior & Cover Artist: Michael Wm. Kaluta
Publisher: DC / Vertigo

Reviewed by Jess

The war between heaven and hell takes a break for one issue in this stand alone issue drawn by artist Michael Wm. Kaluta. In this tale a wizard not wanting to die summons the most powerful demon in hell.......at least he thinks he does. It turns out his spell goes a little awry and instead he winds up summoning a completely lesser thing instead. But when he's given three wishes, he learns a tough lesson in humility. Carey presents a rather fun tale that stands on its own and is a perfect introduction to anyone who's never read this book before. But for those readers thinking that Carey has abandoned his current storyline, don't worry, 'Morningstar" continues next month.

Rating: 7 out of 10

Madman Atomic Comics #1

Writer / Artist: Mike Allred
Publisher: Image Comics

Reviewed by Adam White

Zombie superhero Frank Einstein confronts a world of the dead and his place within it.

This new #1 issue for Madman attempts to summarize all that has gone before in the character's life, and setup a new paradigm for future issues to explore. There's a lot of ground covered as the complete adventures of this most unorthodox hero are recounted. Unfortunately it's all heavily compressed for space and sometimes devoid of context, with a single panel often used to represent a whole storyline. At best all it can give is a taste of what Madman's history entails.

Allred seems to have over-compensated for the need to bring new readers up to speed with the character, at the expense of delivering much actual story in this #1 issue. The balance of “plot development” to “scene setting” is way off. Worse still, the importance of all this back story is apparently negated by the shocking twist ending, which seems to wipe the slate clean in preparation for this relaunch (Everything you know is wrong!) It makes me wonder why he bothered with all this recapping and didn't just jump straight into the new series, dragging new readers along for the ride. It almost feels like this is little more than an advertorial for collected editions of the old series.

The framing device for all these flashbacks is a guided examination of Frank Einstein's twisted identity, which touches on the incomplete understanding of identity and its relationship to reality inherent in the human condition. Wilful ignorance will not allow the hero to escape the consequences of reality, if there is such a thing.

If the flashbacks are anything to go by, the concepts explored in MADMAN are sure to appeal to fans of bizarre and psychotropic comic adventures. How well these ideas will actually be incorporated into the story is not apparent at this stage. Established readers will be in a better position to know what sort of quality to expect, but they would probably be better off passing on this filler issue and waiting for one with some actual story in it. Technically, the art is very good. It will appeal to fans who can appreciate Allred's trademark semi-ironic style, which is firmly rooted in the Golden Age of comics, but turn off readers who insist on slick modernized post-Lee/Silvestri/Turner art.

It's unusual for a #1 issue to make such a weak case for an ongoing series. There's not much here to satisfy new or existing readers, beyond setting out “Madman is this really crazy take on the superhero adventurer and he's done all sorts of cool stuff!” This kind of thing would be fine for a special-priced #0 issue, but not an official debut.

This could well be an excellent series but there's no way to tell at the moment. Unless you're a completist, skip this one and consider checking out #2 instead.

Rating 5 out of 10

Manhunter #8

Writer: Mark Andreyko
Artist: Javier Pina
Publisher: DC Comics

Reviewed by Jess

Firestorm is dead, killed by the Shadow Thief. Now the shadow thief is on trial for a vicious murder. But it seems like our hero Manhunter isn't the only one interested in Shadow Thief when old Teen Titans foe Cheshire turns up on the scene. This series stars the first female Manhunter who goes by the name of Kate Spencer. She's a lawyer by day and a superhero by night.

I'm not familiar with Mark Andreyko's writing but I like his work here and the guest artwork of Javier Pina (filling in for regular artist Jesus Saiz) is pretty fine looking too. I like what I've read of this series so far and look forward to many issues to come.

Rating: 8 out of 10

Manhunter #21

Writer: Mark Andreyko
Artist: Javier Pina
Cover: Jesus Saiz
Publisher: DC

Reviewed by Jess

In today's reviews I'll be covering two titles, one each from Marvel and DC that have been at different times the subject of campaigns by their writers to save the book from cancellations due to low sales.

Manhunter follows the day to day life of Kate Spencer. By day she's a lawyer and devoted mother, by night she becomes the costumed superhero known simply as Manhunter. Since Infinite Crisis began Kate has become closer to her son, and lost an unborn child of her own. When contacted recently by the head of the D.E.O, the ex criminal known as Mr Bones, Kate finds herself on the opposite side of the law bench. Instead of prosecuting criminals, she's been hired to defend one, which doesn't sit well with our heroine at all.

It's a shame that this book doesn't have much support other than a cult following, because it really is entertaining. Andreyko's writing is top notch, and there's always a lot of other things happening in each story to intrigue the reader and keep things interesting.

If anyone's been wanting to read this book, pick up issue 20 and then this issue and I hope you won't be disappointed.

8 out of 10

Marvel Knights Spider-man #9

Writer: Mark Millar
Artist: Terry Dodson
Publisher: Marvel

Reviewed by Jess

Peter Parker's aunt has been kidnapped and after a difficult battle against Venom he gets a call from the mysterious person who has kidnapped her.If your still interested after the first eight issues of this title then let me say your clearly doing a much better job than I am. In this story we find that the Scorpion kidnapped May Parker based on orders from a contingency plan formed by Norman Osborn, put into place after Spider-man sent him to prison in issue 1. The mere mention of Osborn again in a Spider-man title is offputting, since Osborn has been less of a convicing and interesting villain since his so called "resurrection".The cartoony art of terry dodson doesn't help much either.This is the least interesting of the Spider-man group of titles at the moment and therefore gets the lowest score I've given so far.

Rating: 2 out of 10

Marvel Knights Spider-Man #13

Writer: Reginald Hudlin
Artist: Billy Tan
Publisher: Marvel

Review by Christopher Franks

This comic book is terrible. Really, it is.

With the clumsy plotting, horrendous dialogue and plainly unacceptable writing demonstrated here and in Black Panther it is readily apparent why Reginald Hudlin failed to establish an inglorious career producing Z-grade blaxploitation comedy movies. Scenes come and go at random as increasingly ridiculous events struggle to set up Peter Parker exchanging lame gags with a one-note Clark Kent analogue and Spider-Man fighting Wolverine, in an issue in which the advertisements make for the most entertaining reading. Howard Mackie wrote better Spider-Man scripts than this. You or I could write better Spider-Man scripts than this. Reginald Hudlin cannot write anything.

Billy Tan is enjoying some heat from his work on X-23 but his art here is truly ghastly, with a 'style' amounting to the worst Todd McFarlane rip ever. It also appears very rushed, with characters noticeably changing in appearance from one panel to the next, and although an inker is credited (Supreme Power's Jon Sibal, while a new issue of that title remains MIA) I'm not sure what he actually did on this issue. Why does Spider-Man's nose keep visibly poking at the surface of his mask? Why does Wolverine resemble a spiky-haired dwarf? Why does Mary Jane have the face of a young girl in some panels but the figure of a porn star in others? Why?

It's rare to find an issue with absolutely zero redeeming features, but this is one of them. There are writers and artists out there with both the talent and ambition to create good Spider-Man stories, and Marvel's decision to hand a core title of its flagship character to a sub-par Hollywood hack and second-string Top Cow pencil monkey is incomprehensible.

Rating: 1/10

Matador #1

Writer: Devin Grayson
Artist: Brian Stelfreeze
Publisher: DC

Review by Christopher Franks

Writer Devin Grayson looks to spread her wings beyond Nightwing and the Batman sphere with a six-issue miniseries focusing on an urban legend serial killer, the Matador. This opening issue is competent, but revisits territory that is by now fairly familiar within the genre.

A well-paced script and good dialogue richly establish the personality and circumstances of Miami police detective Isabel Cardona, teased by her male work colleagues over her gender and hounded by her mother for focusing on her work at the expense of finding a husband or boyfriend. Unfortunately this character ceased to be innovative quite some time ago, having appeared in so many police procedurals to now be commonplace, almost cliche. In a series sold on the core mystery plot spending almost the entire issue on character development, however well done, is not the optimal approach, although I imagine it would be less grating if the story were read in collected trade paperback form.

There's more than a little Eduardo Risso in Stelfreeze's art, from the clean, expressive rendering to dynamic pacing that shifts fluidly from static dialogue scenes to kinetic action sequences. Colours are also handled by Stelfreeze, and the drab noir tones one typically associates with this genre are passed over in favour of a more garish palette which
reinforces the heat and festivity of the Miami beach setting.

An acceptable opening with a good hook leading into the next issue, but with the setup well and truly covered the plot now needs to take the spotlight.

Rating: 6/10

Manifest Eternity #1

Writer: Scott Lobdell
Artist: Dustin Nguyen
Publisher: Wildstorm

Reviewed by Ben Marton

There is a part of me (admittedly a very uncharitable part) that remembers Scott Lobdell as ‘the writer who wasn’t quite Chris Claremont’. To be fair, in that early nineties period of X-Men burnout and decline, Chris Claremont wasn’t quite Chris Claremont. Lobdell was brought on board to follow a tough act and see our favourite mutants into an era of spectacular mediocrity from which they are only now emerging; an unenviable position, and he stepped up to the plate and gave a decent account of himself. ‘Manifest Eternity’ promises to showcase a man writing to his strengths, namely far-reaching space opera with human(oid) drama stage front, ably assisted by an artist with the right techno-expressionist sensibilities for the job. The premise as advertised was enough to lure this jaded reader in, and while the opening chapter has not quite achieved escape velocity, this mission may be worth signing on for.

A personal guideline is that if a story concept can be related to me in one or two sentences and it poses a decent ‘what if?’ question, I’ll bite. The promotion for ‘Manifest Eternity’ played the ‘clash of genres’ card to quite a literal degree. A war erupts between a universe built upon rational scientific principles and a realm of magic and mythical beasts. My geek gland was activated and my mind raced. In this corner…Isaac Asimov! In this corner…J.R.R. Tolkien! Merlin vs. Yoda! HAL 9000 takes on Queen Titania! Who would win? With whom would we be expected to sympathise?

I may be jumping the gun somewhat, one issue in and all, but it seems that, disappointingly, that last question is answered unambiguously. The nuances of characterisation, fleshed out with a turbulent past of galactic conquest and shaky alien diplomacy, are rendered generously unto the science-based futuristic civilisation, while the representatives of a far more ancient myth pool seem to rate little more than a single murky splash page featuring some trolls from Central Casting and a single Gandalf clone. The powers that be in this heavily Photoshopped kingdom, nominated ‘Anotherealm’ (in a stylised font, which implies self-naming; ‘other’ than what?) decide that war is inevitable, on the flimsy pretext that the leaders of the sci-fi civilization have ‘conquered their own people’ (?) and so will inevitably cast their greedy little Coalition eyes across inter-dimensional space. Bad, bad humans! Stop exploring the frontiers and trying to establish galactic unity! We much preferred the primates who stayed on their own mud-ball with their leeches and alchemical experiments and never bothered to look up…

Apologies for the rant, Dear Reader, but although ‘manifest Eternity’ possesses many fine qualities and is a pretty package, this humble reviewer despairs at the thought of yet another science-fiction saga which seems to imply that: 1. human colonists are some kind of space-borne virus that spreads across the cosmos bringing malaise and woe, and 2. we are capable of evolving technologically and intellectually but not philosophically.

The seemingly pre-emptive strike by merciless gnomes and dragons upon the pinnacle of engineering that is the starship Deathnaught in the issues closing pages only alienates the reader further from the fantasy empire’s motives. It may well be that the impending deaths of the series’ most interesting characters shall be averted next issue, and my fingers are crossed that ensuing chapters will give equal time to the denizens of ‘Underness and Away.’ Mysterious happenings from long ago promise to feed into the current storyline, and the creators of ‘Manifest Eternity’ will no doubt be hoping that readers will be looking to have their patience rewarded, having sampled this occasionally perplexing fly-by of condensed history, plot bytes and oblique references, by staying on for issue two.

Dustin Nguyen’s art is ultimately of the ‘neon sign’ variety; infused as it is with more than the average taint of anime, it slides, judders and ghosts across the retina in a haze of spectral light and thrown focus that had me fitfully rubbing at my eyes and groping for my glasses. This style of rendering is sufficiently broad to encompass the differences in hue and texture needed to portray a violent collision of realities, although while Nguyen composes majestic architectural tableaux for the comic’s quieter moments, his abandonment of detail and wild inter-cutting of perspectives in the action sequences has one re-visiting panels in order to orient oneself a little too often. To suit the current A.D.D. aesthetic, images often resemble an advertisement for the object they are representing, rather than the thing itself.

‘Manifest Eternity’ pushes some strong narrative buttons and strings the reader along just enough, in the manner of a decent first issue. It is likely that it will find an audience that will forgive its minor shortcomings and ultimately it is an encouraging title, because the lateral movement of high-profile creators into satellite genres such as horror, fantasy and science-fiction can only result in a more robust, less exclusive comics industry. While this may not be part of Lobdell’s and Nguyen’s mission statement, having titles like ‘Manifest Eternity’ out there doesn’t hurt.

Rating: 6 out of 10

The Mighty Avengers #1

Writer: Brian Michael Bendis
Artist: Frank Cho
Publisher: Marvel

Reviewed by Adam White

In a post-Civil War era, the victorious Iron Man sets out to re-establish the Avengers as the world's pre-eminent super-hero team, according to his own terms.

This comic just killed any chance DYNAMO 5 had of finding an audience – it's exactly the same format, but from the leading publisher with a capable Big Name creative staff, well established marquee and much-loved characters.

The smoke has barely cleared from Civil War and the world faces a new threat to its very existence, bringing the all new Mighty Avengers into a pitched battle with an army of Giant Monsters tearing up New York City . It's all a ploy to lead to the big reveal at the end of the issue, re-introducing a classic Marvel villain in a new, totally preposterous, guise.

Interspersed with the action are some clunky flashbacks intended to recap the selection process Iron Man and the team's nominal leader, Ms Marvel, go through to populate the ranks. The relationship between these two is the heart of the issue, with numerous story-telling devices used to varying effect to flesh it out. In particular, Bendis constantly mixes dialogue and internal thoughts, in an attempt to show how external statements sometimes conflict with their inner reservations. At times, this trick enhances the drama or humour of the situation, in others it threatens to derail the flow of the story with its complexity.

This section of the comic can't help but seem like a rip-off of JUSTICE LEAGUE OF AMERICA #1 (and 2, and 3…) by Brad Meltzer, which trod the same ground last year. To everyone's relief Bendis manages to get the whole thing over with in half an issue. According to a caption, the whole process, from “let's form the Avengers” to “Avengers go to battle” (the classic battle cry does not feature, except on the cover) takes four hours. But this rushed approach has drawbacks, such as the fact that no-one is really considered for membership but not selected. It's just a string of “let's get this guy, and this guy, and her, and him also, OK done”. There's no drama – no rejections, no surprise inclusions. Only one character's actual recruitment is depicted, the rest of them are simply there when the action starts.

The art by Frank Cho is, well, art by Frank Cho. There are a couple of occasions for him to shine, such as an impressive two-page splash of SHIELD's big-screen TV showing almost every super-person in the Marvel Universe, plus lots of Giant Monsters getting violently killed for him to draw. Annoyingly, several panels are re-used within the issue in an obvious example of copy-and-pasting. Whether this was a sacrifice made to get the comic out on schedule, or just plain laziness, is unknown. Sure there are some talky scenes, but that doesn't justify simply repeating the same image three times with different lettering. If you like Cho, you will love this. It's very clean and reasonably well laid-out, plus there's a naked chick for your consideration.

It's yet another Avengers relaunch, but this one has to compete with the NEW AVENGERS title for attention. It's definitely an attempt to do something different with the property, but for the moment it remains to be seen how well this eclectic mix of characters can form a genuine team that will rival the classic dynamic. There are plenty of hints that various character arcs are planned (Sentry learns to become a True Hero, Ares adapts to life in the Mortal World, Wasp taps Some Ass etc) however the comic's Initiative-era seriousness leaves little room for the sense of adventure, fantasy and fun the Avengers is traditionally renown for.

Rating 6 out of 10

 

Mystery in Space #1

Writer: Jim Starlin
Pencillers: Shane Davis and Jim Starlin
Inkers: Matt Banning and Al Milgrom
Colours: Jeromy Cox and Jim Starlin
Publisher: DC

Reviewed by Ben Marton

Captain’s log, Stardate twenty o-six. Having recently witnessed the return of the galaxy-hopping hero Adam Strange from across the deep celestial gulfs of Market Speculation, I was delighted to hear of the imminent resurrection of another venerable hero cut from the Flash Gordon mould. What had impressed me about the resurfacing of Captain Comet just in time for the planets Rann and Thanagar to go over to the geno-side as part of ‘Countdown to Infinite Crisis’ (never, in the field of Cosmic Comic Conflict, has so much blood and ink been spilled for so little payoff), was that the hero from the very dawn of DC’s Silver Age seemed to have grown old with dignity. From the first moment he had towered over the ‘Green Lantern’, echoing an earlier meeting of the old and the new (“Now where did I leave that ring? Oh, there it is. Thanks for holding it for me while I was away, Kyle.”), Captain Comet radiated gravitas. Here was a man hardened by the frontier of space; a mythical figure hewn from our collective unconscious as dynamic and weather-beaten as a cold fusion of Buck Rogers and Clint Eastwood. I was ready to cheer. It was the return of a grey-power hero for an aging population, a man over whom the criminal revisions and compromises with verisimilitude had skipped for the past several decades, to remind us that the heroic ore of the past may still be forged into the shining alloy of tradition; a man to remind us that age and wisdom are to be respected…

…Which must be why DC decided to kill him and resurrect him in a younger body with more shiny attachments on his outfit.

I really want to be fair to this one. Aside from the Striated Nautilus Image house-style artwork (at least in the main feature; more on that later), and the adherence to the Fratboy Comedy rule that every appearance of a dog in a comic book must showcase both every nook and cranny of its anatomy and at least one gratuitous urination shot, there is very little about the first issue of the new ‘Mystery in Space’ that slips below competent. Since the advent of the Lucas Age the inclusion of a local variant on the spaceport which is also the Wretched Hive of Scum and Villainy is pretty much mandatory, so we can check that box. Alien bounty hunters are always delightfully expendable because as long as it doesn’t have a face in the conventional sense, you can kill it. And in a comic universe of supposedly limitless story possibilities with a surprisingly large number of Earth-bound heroes, any hint of a foray into the Great Beyond is enough to trip my sensors. And yet…

I don’t know if Jim Starlin is bowing to editorial pressure, but if the only way to green-light the return of a first generation mentor hero is to step on him, jam him into the ol’ Retcon Cocoon and wait for him to emerge with a cherry new chassis so the kids will put down their iPods long enough to notice, then I think I will keep my six dollars thank you very much.

The backup feature, with its respectable page count and tie-in factor, is entirely Starlin’s baby. He writes, pencils and colours the return of his long-dormant mystical mystery man, The Weird (ably assisted by a much-missed Al Milgrom on inks) with enough verve, Von Daniken-style tomfoolery and high concept hyperbole to remind the reader how much fun the lead feature isn’t. The title featured as the ‘plus’ on the cover shouldn’t impact negatively on the issue’s desirability, but it does, mainly because it reminds you that you may want to save your money and go hunting for ‘Silver Surfer’ back issues instead.

We sent a message out to the stars in a chrome-plated capsule with fins and a bubble-dome, and boy, did it look boss as it arced into the heavens, carrying with it Robert Heinlein’s immortal battle cry of ‘Have Space Suit, Will Travel’. We got back an MP3 sound bite which said “What’s been happening on 'The O.C'?”

Rating: 4 out of 10.

Mystique #20

Writer: Sean Mckeever
Artist: Manuel Garcia

Publisher: Marvel

Reviewed by Jess

When Mystique is given a mission to kill Professor Charles Xavier (the man she has been working for as an agent), you have to wonder when reading this book- will she do it?

While the answer is not exactly given in this issue, it still makes for an entertaining read. There are plenty of thrills and shocks to keep the reader wanting more, from Mystique's aforementioned dilemma, to the unveiling of the mysterious Quiet Man's identity.

Written by Sean Mckeever, author of books such as Mary Jane and Sentinel, this has all the action and intrigue of a well written movie starring those action heroes we many of us know so well.The art of Manuel Garcia, while not as detailed as his previous work, is still good enough to look at here, and the cover by painter Mike Mayhew is worth the price of admission alone!

Mystique is a fun read and with issue #22 just released and three trade paperbacks in print, this is a great time to atch up on the adventures of this mutant spy.

8 out of 10