We Will Bury You #1 review
I was already looking forward to Choker when I walked into the comic book shop, so the Templesmith-esque cover of We Will Bury You from IDW caught my eye. The zombie cover, that is actually from the pencil of Ben Templesmith, is the highlight of the issue.
The story takes place in 1927 and the form-fitting collared shirt and pants outfit of our dykie heroin Fanya seem completely out-of-place, even if she is going for a manly look. Her Harry Potter glasses don’t seem to fit either. Fanya and her friend Mirah are drawn with clean, smooth lines. Every other character looks hairy, dirty and disgusting, often with distorted facial expressions. We haven’t even got to the zombies yet. This contrast is purposeful in creating an atmosphere and tone, but Kyle Strahm may have done the job too well as the characters are so vile and ugly that I barely want to look at the pages.
Yes, this is only the first issue, but I really can’t tell what direction Brea Grant and Zane Austin Grant are going to take this story. From what I can tell, the only two non-wretched beings is this city have a forbidden love, which will have to be put on hold while they deal with the zombie apocalypse.
In the end, this horse is slow coming out of the gate, but since it involves zombies, I’ll probably give issue #2 a chance.
2 out of 5
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Captain Swing and the Electrical Pirates of Cindery Island #1 review
One glance at the cover of Warren Ellis and Raulo Caceres’ Captain Swing and the Electrical Pirates of Cindery Island and I was hooked. This book oozes sci-fi coolness. Beautifully drawn and richly colored comic pages quickly immerse the reader into Ellis’ version of 1830 London.
Two competing police forces, the Bobbies and the Bow Street Runners, are trying to keep the streets of Georgian era London under control. A rogue given the monicker Spring-Heeled Jack, who appears to have harnessed the powers of static electricity, has taken up the hobby of tossing police onto spiked wrought iron fences. Of course, conspiracies abound as we get hints that the Bow Street Runners and their Magistrate masters may not only have justice as their motive for taking down Jack and the mysterious Captain Swing.
Raulo Caceres employs a plethora of short black strokes to add shading and detail to most every surface. You can see and feel the emotion on every character’s face. The biggest accomplishment is that Caceres seamlessly blends the fantastic and the style of the 1800’s to keep the story “realistic” in a sense.
This comic provides a full $3.99 worth of entertainment. The 21 pages of comic goodness are supplemented by six additional brown parchment looking pages with a fitting script font and technical drawings that go further in solidifying the idea that there is some mad scientist lurking about that is way ahead of his time. The text also provides details of the actual historical events that are being used to frame the story.
The only real criticism I have is that this is issue “1 of 4″. I’m already wanting more.
4 out of 5
Batman and Robin #8 review
Grant Morrison continues to weave together a unique era in the Batman mythos. For timeless characters like Batman, it’s tough to come up with something original. Like it or hate it, Morrison is delivering something new.
Dick Grayson, Batwoman, the Knight and the Squire gather at a Lazurus Pit under the streets of London, and await the resurrection of Bruce Wayne. In a smart twist, Morrison reveals that the corpse Superman carried at the end of Final Crisis was a clone of Batman created by Darkseid. Not being a fan of Final Crisis, I was sad to see elements of that debacle reach into the pages of this issue. However, it was tolerable if not enjoyable. Morrison writes Dick Grayson extremely well. He’s emerging as a confident hero who is building poise under the cowl. Damian gets a new spine (literally) and is temporally confined to a wheelchair. This issue ends with a shocker and a cliffhanger that makes he hope for the next issue to arrive soon.
While I prefer Frank Quitely’s unparalleled art, Cameron Stewart is doing a great job. This issue is a fast-paced romp and Stewart has a commanding grasp of these pages. The Batman vs. Batman fight is sharp and flows beautifully. Stewart captures soft details in a clean and refined style. Considering that he had to fill Quitely’s shoes, Cameron Stewart is holding his own.
I respect what Grant Morrison is creating, but I’m not a huge fan Final Crisis. I like Batman because he’s an earthy hero, with no jacked up origin story of cosmic powers or aliens. Batman tossed in with mulit-verses, resurrections, time travel and all that bull crap is not my cup of tea. Morrison gets too weird for me, but he is writing a good story. Let Batman protect Gotham and Green Lantern tackle the sci-fi junk.
3.5 out of 5
Resurrection #7 review
After reading the trade paperback Resurrection Vol. 1 and feverishly devouring up to issue 7 of the monthly comics, I am officially hooked on this series. Resurrection brings new life to the overexposed alien invasion genre. Sub-tagged with “The End is Only the Beginning,” this original plot follows humanity’s survivors after an alien invasion and occupation. Why did the aliens, referred to as “The Bugs,” leave after they conquered earth? What was their purpose? What’s left of our societies? Will they come back? When will comics ship (just kidding)?
A band of survivors have formed an uneasy alliance. Leaving the safety of Red Lion, PA, they begin their journey to Washington, D.C. Among their precious cargo is Bill Clinton, the current US President. As the group’s factions clandestinely debate their next move, they are quickly brought back together when a threat emerges. This issue opens up a new direction and another dilemma for our survivors. I loved it because I never saw this one coming. That’s good comic book writing!
Marc Guggenheim’s brilliant storyline and intelligent characters are keys to the series success. Similar to Kirkman’s The Walking Dead, Guggenheim’s narrative uncovers the human struggle in the wake of the unthinkable. The horror of the alien occupation is over, but life is still terrifying. When I can pick up a comic and remember the main characters from month to month, the author has written a fine book. The series progression never lulls and keeps getting cleverer. The characters have distinct voices and act like real people. Each book has a second feature, which isn’t a cheap through away. These pages maintain the series quality and truly further the storyline.
For comics, the best stories needs a talented artist to bring it to life. Artist Justin Greenwood gives Resurrection a boldly distinctive style I haven’t seen anywhere else on the racks. I love detail, but Greenwood’s approach relies on boldness. Thick, dark lines create a brooding atmosphere. With very little detail, each panel sharply conveys its point. This allows the reader to follow the action, helping the story to progress quickly. It takes a talented artist to trust that less is truly more. With simple lines, Guggenheim shows his talent by drawing a perfect fit to a powerful plot.
Resurrection is a well-rounded, never dull, refreshingly new, uniquely drawn comic. With Resurrection, Guggenheim and Greenwood prove they are mighty tag team in the industry. Comics should be fun and entertaining to read and this one is both. If this smartly plotted comic isn’t on your pull list, then you dumb.
4 out of 5
Days Missing #1 review
I was compelled to buy Achaia’s premiere issue of Days Missing for several reasons. First, it costs less than a dollar; bargains are always a plus. Its tagged with “Roddenberry Presents” so I thought it would be an interesting sci-fi story. The cover and back were sharp and the concept seemed original. Was it worth a buck? Buck, no!
Comic industry veterans Phil Hester and Frazer Irving should be ashamed. Hester’s script just falls flat. I was interested by the concept but bored by the poor execution. The story is about a mysterious figure who intercedes on behalf of humanity to keep us from extinction. This white haired, crazed eyed hippie has been around since earth’s creation and has been waiting for humans so he could hang out with someone similar to him. The issue begins with a viral epedemic that could destroy the earth’s population. The cosmic hippie lends his hippie hands and once again humanity is saved from annihilation. The pages are littered with too much unnecessary back-story and the pace is deathly slow.
Artist Frazer Irving’s skills are uncharacteristically poor and sloppy. I think Irving realized that the story sucked and just drew these panels in a drunken stupor. Large black lines outline every character, giving them a cookie cutter appearance. The bland cast is drawn just as they are written – boring.
I will never have the dollar I spent on this drivel back or the 10 minutes it took me to read this. Take a pass on Days Missing.
1 out of 5
PREVIEW: Crogan’s March
Oni Press is about to drop Crogan’s March, the second volume of The Crogan Adventures series of graphic novels. Sporting a hardcover, black and white Sunday comics-styled frames, this book will run 216 pages for only $14.95. Not a bad deal when 20 pages generally runs 4 bucks these days.
Each book in the series will follow a member of the Crogan family tree. In this adventure, Chris Schweizer introduces us to Legionnaire Peter Crogan and his rag-tag unit as they try to survive the desert, an enemy army and a montrous creature with a taste for human flesh.
Check the usual outlets on Wednesday February 3.
Stumptown #2 review
Did you ever pick up a comic on a whim, not hearing any hype surrounding its release, and strike gold with your chance purchase? That’s what I did with Stumptown. Oh yeah, solid gold, baby.
Dex is a private investigator and proprietor of Stumptown Investigations. Writer Greg Rucka creates a female character, both flawed and loveable. The series first arc The Case of the Girl Who Took Her Shampoo, But Left Her Mini follows Dex as she seeks the whereabouts of a missing girl. Taking the case to settle a gambling debt, Dex is quickly pulled into a quagmire of shady villains with hidden motives and itchy trigger fingers. Rucka nails the atmosphere and intrigue behind the protagonist and the plot. I love the layers that Greg Rucka weaves and builds as Dex gets deeper into finding answers.
Artist Matthew Southworth draws a pitch perfect match for Greg Rucka’s extraordinary narrative. In a character driven comic, the artist must be able to convey the story without relying on action sequences and muscle-clad heroes. His silent panels are well structured and flow perfectly.
Get onboard right now so that you can say, I was there at the beginning. This is a smart comic that should be at the top of pulllists.
4.5 out of 5
Tracker #2 review
Writer Jonathan Lincoln and artist Francis Tsai unite to deliver one hell of frickin’ good comic. After a fine inaugural issue, I hoped that the series would continue to satisfy. Well, mission accomplished, boys.
Alex O’Roark is the FBI’s top tracker and he loves his job (even more than his girlfriend). While tracking down a serial killer known as Herod, he survives “The Blue Line Massacre.” We learn that the Handel Foundation has been researching lupines or werewolves and one of their mysterious doctors cares for O’Roark after the massacre. Another victim mysteriously survives and O’Roark tracks him down in this issue. Lincoln achieves an appropriate balance between exposition and action. This is an unpretentious action-packed read. This is tightly plotted with a fresh approach to the icon werewolf genre.
Francis Tsai draws a sharp comic. His panels and layouts pace perfectly with the narrative. The supernatural creatures’ kinetic movements are nicely portrayed. It’s a dynamic approach, which is just what this comic needs.
Tracker is an equally clever detective yarn and a brutally vicious horror tale populated by smartly written characters. I pray this five- issue story gets a monthly series.
4.5 out of 5
Die Hard: Year One #3 review
I grew up with the Die Hard movies and loved every testosterone injected, unrealistic action-packed moment. When a buddy gave me the first three issue of Die Hard Year One, I turned up my nose. “What this hell is this”, I thought. How many more places can McClain get stuck in? An elevator, maybe? Oh, me of little faith. It’s a big world and there are plenty more binds for John McClain to get into.
With a necessarily slow build as the major player took their places, this series is shaping up to be a fun ride. Officer John McClain, the character immortalized by Bruce Willis in the Die Hard franchise, hits the New York streets on his first beat. It’s the 70’s and trouble is brewing in the Big Apple. Writer Howard Chaykin has good command of the story as he navigates multiple episodes and characters. Once all parties intersect, the plot takes off and the stage is masterfully set for some balls-to-the-wall John McClain ass-kicking and name–taking good times. Like all Die Hard plots, Chaykin does a fine job of assembling an interesting crew of bad guys and an unsuspecting McClain finds himself trapped in their scheme.
Stephen Thompson captures the feel and funk of the 1970’s. With bellbottoms and tube socks, the details make these pages sharp. Some of the effect choices fall flat, i.e. the forefront blurring in some action sequences, but overall it’s a good effort. I love the headbands and feathered back hair!
Die Hard is back and seeing McClain’s roots is a blast.
3.5 out of 5
Spider-Woman #4 review
We know that Brian Michael Bendis loves Jessica Drew, a.k.a Spider-Woman. He has been enthralled with her and is singlehandedly responsible for inserting her at the Marvel Universe’s epicenter with he role in Secret Invasion. Months ago, Bendis spoke with love and excitement as he announced his Spider-Woman series. Jessica Drew is a compelling character, raised by terrorists, allied with Nick Fury, then the Avengers, and kidnapped by the Skrulls. How would she fit into the world post-Secret Invasion world? Bendis certainly had an interesting premise to work with.
Four issues into the series I can state in all fairness that I am not impressed. After reading the first few issues, I couldn’t decide if I liked it. There are many elements of the series I like, but they fail to gel together into a good book. I like Brian Michael Bendis’ choice of allowing Jessica first person narrative. However after four issues, she just seems to be bitching. I’m a fan of wordless panels, allowing the art to speak for itself. While this series relies on this technique frequently, the plot is too sparse for it to be effective. There is just not enough going on and it gets boring fast. I like that gritty noir style which artist Alex Maleev employees. It just doesn’t work well with this story. Bendis’ writing doesn’t have a noir feel and there’s a disjointed presentation between script and art. The watercolors are distracting and out of place. From the coloring, to the art, and the dialogue, no one element is bad, but there is something missing, leaving this series with many individual pieces and nothing complete.
It’s a bizarre combination of ideas that seems like a Bendis experiment. I applaud the attempt, but I’m disappointed with the end result.
2 out of 5
