Comic Book Journal

This title got the Eisner nod for best continuing series, and I can see why. Taking an iconic character like Superman and attempting to do it justice is daunting Quietly and crew do a simply amazing job. The storyline of Superman seeing his end of his time on earth and death approaching quickly is a new twist on the character, who all other writers thus far, have made young and invulnerable with the exception of any alternate universe. This issue is well, quiet, Superman saves some lives and also begins narrating his last will and testament, it is chock full of emotion. The artwork is equally amazing as simple lines and strong details, as well as clarity make this issue both a joy and an easy read.

I think this title has accomplished something few has. It has the ability to appeal to everyone with an easily understandable storyline and also a hook to keep readers coming back for more. I though DC was in trouble before with my blog on the crisis status, see:

; now I realize that only the core titles are in trouble. Maybe this Eisner winning duo should take on and revamp the entire universe themselves, then quality would show through every issue. This book gets a solid ten out of ten.

I have always liked Daredevil comics. There’s just something about the casts of characters that makes me feel like, “yeah, this could only happen in a comic,” that I like. Maybe it’s nostalgia, I don’t know. So I guess after reading this I’m going to pose the question of trending in comics? Is it the new trend for Marvel to have comic, whose main character, the title character, has less action and dialogue than the supporting characters now? Despite making for an unusual story in how the narrative is set up, I don’t like the trend of eliminating the main character’s actions and words from the narrative completely. With little “screen time” in this issue for Murdock and more time dedicated to the struggles of Foggy Nelson and reporter Ben Urich, I fear this trend may continue. Even though ths technique has proven successful in the recent Punisher War Journal title (see my post at http://www.comicbookjournal.net/punisher-war-journal-16/) I don’t think this trend speaks very highly of the writers. I think the ability to tell a single stand alone story with a fixed amount of characters is giving way to creating other characters to fill in plot holes. So that’s my major gripe with this issue. The art and pacing work well for the story however, it is crippled by the lack of inner monologue from Daredevil himself. I would give this book a solid six out of ten. There has been at least an attempt to revitalize Daredevil again,and as much as I like the character, I hope Marvel finds a way to perhaps tie up dangling plot twists and get the man without fear out of his slump maybe once he becomes the man without depression this can happen.

A couple months ago at http://www.comicbookjournal.net/the-wonder-of-wonder-woman/ I reviewed the Amazon’s latest adventures. I thought I’d just do a little catch up work to see how things stands with ol Diana now and I am pleased to report this title is still top notch in quality. The script does in a sense, as the title indicates comes full circle as Diana celebrates her heritage and saves her mother on her birthday, which is ironic since it was her mother who had saved her life years ago from traitors as well.

With that said I am still impressed with the plots and scripting ability of Gail Simone. Also with Terry and Rachael Dodson on art, everything blends together perfectly. I would have to give this issue a nine out of ten. So why not a perfect score? At the end of a story arc it’s always tough for a new reader to get involved in the story and pick up back issues to complete the run. As I’ve said before a “previously” section could do this title wonders. DC does have a solid title here and I think if they keep their current creative team through the remainder of the book (or as long as possible) they might even have a couple Eisner winners of their own. Props to DC, props to Simone, Dodson(s), and crew. It’s still a wonderful (pun intended) read.

Ah, X-Force. It’s a lot like X-Factor isn’t it. Really an unnecessary deterent to the main X-titles every month. But it’s Messiah Complex, and I guess there’s a purpose for this team within the crossover. For more on the crossover see my past blog where it all began at: http://www.comicbookjournal.net/the-next-big-thing/.
So the plot of X-Force is basically Wolverine is leading a team comprised of John Proudstar, X-23, Rahne, and of course himself, to be sort of a pre-emptive force against the Purifiers. Cyclops gives Wolverine the orders that he is to destroy William Stryker before he can kill other mutants and claim more victims. So X-Force does Cyclops’ dirty work.

With that said, not much happened within this issue other than the origin of the team’s orders and the chance Wolverine gives every member before the battle begins. With no one walking away from the fight, I am anxious to see if any or all of the team’s core members will be lost to the fight.

The scripting on the story was solid,and the art was amazing. The one flaw to the artwork, however, was the use of computerized graphics on nearly every panel. I think it’s ok every now and then for effects and explosions, but every panel. That’s just not very, for lack of a better word…pure.

I’d have to give this book a six out of seven while I like it much better than the X-Factor boo hoo, poor me drama-fest, it’s still not as strong as it should be for one of the core books. Hopefully this will launch a new storyline with better plots for the future. I recommend this title only for people who have to buy every new #1 issue, or for those wanting to get the complete crossover.

To see what the Messiah Complex is really all about, see my blog at http://www.comicbookjournal.net/the-next-big-thing/.
Ok. Ah, X-Factor. To me, X-Factor will ALWAYS be a wasted X-book. This book did nothing to really further the plot line for the Messiah Complex, it just simply reinforced the idea that something bad was happening. Well, that was already established now wasn’t it?

Anyway, the plot is still focusing on the drama and the relationships between all of the main characters, which I would normally enjoy–if I cared anything about the characters. The Purifiers are after X-Factor. The residents want their city back. I think in the fight against X-factor I’m on board with the Purifiers. For a long time X-Factor has been dead weight for the Marvel Universe, so the sooner we can say goodbye to Madrox, and all his multiples fine by me.

With that said, the plot wasn’t bad, as Peter David didn’t have much as far a source material goes to work with, but his whole “religion vs. faith” thing he does with nearly ALL of his books is just frankly old. The only bright spot in the issue for me was the artwork. Raimondi, a relative new comer to the industry is a joy to see. His perspective changes and light, crisp line work is extremely traditional and highly professional. I did appreciate his attention to little details within his background work (sign names, t-shirt slogans, etc.).

On a scale of one to ten I’d give this book a five. If not for the artwork and it was take it or leave it, I’d leave it. I would recommend this book only to die hard collectors to complete a run or a five-year old. Maybe they wouldn’t be as bored with it as a mature reader would.

Now I haven’t reviewed an issue of Wolverine for a while, but since I’m a fan of the X-over the Messiah Complex, I thought I’d give Wolvie another shot. I was much more pleased with the results of this issue. I find that the Wolverine stories are always the best when it’s Wolverine on a mission, nothing more, nothing less, no complicated origin stories, just Wolverine doing what he does best, whoever he is.

With that said, this issue takes Wolverine in search of Mystique who has betrayed the X-Men to Sinister in the aftermath of the Messiah Complex. While this is not a really big shocker, as Mystique has never really been on anyone’s side as a character, the most disturbing and shocking event in the story so far for me has been Cyclops’ complete transformation. Pre-crossover Cyclops would have told Wolverine to bring Mystique back so she could be rehabilitated. Now the gloves are off and Cyclops orders Wolverine to go and not bring Mystique back, breathing that it.

As far as the story goes, solid plotting and flashback make this issue not so tedious as Wolverine searches for Mystique high and low. He ends up killing an innocent human, mistaking her for Mystique, which makes the story more believable. The script was solid through and through.

But the artwork is what impressed me. Ron Garney, who was noted for his work on Captain America before, has brought a traditional style, and attention to detail to this title. And it would not have been the same without him. For the lush artwork, great layouts, and traditionalism, I’d give the art alone in this book a solid nine at least.

On a whole, I’d have to give this issue a solid seven out of ten, while it’s just a piece in a puzzle, it did leave me wanting to read more, but for new readers there’s just not enough characterization for me to fall in love with the book completely. So it gets a solid seven, and hopefully the rest of the X-titles will stay consistent. If you missed the genesis of the Messiah Complex, see my review at http://www.comicbookjournal.net/the-next-big-thing/.

Devil’s Due publishing has successfully proved they are more than just a one-trick pony. By branching out to other genres and different types of storytelling platforms they have proven they have what it takes to be successful on the comic book front, not just with GI Joe either. Other than Image and Dynamite Entertainment, I feel they have produced the best quality of work, outside of Marvel and DC. As far as independent publishers go, they are among the best. So what has made Devil’s Due successful? Talent. They consistently attract high-profile talent and that leads to a high quality of product made. Spooks #1 is no exception.

With a script by acclaimed fantasy novelist R.A. Salavatore and long-time comic book scribe, Larry Hama (who also draws a pretty picture or two himself), this series has large market success all over it.

The storyline of Spooks is fairly simple. It’s werewolves, vampires, and monsters versus the rest of the world in a battle for complete domination. Throw in some powerful magic, and an undead war general in charge, and you have a pretty good fight. The government has assembled a highly trained team of officers to protect and defend against supernatural enemies, and possible terrorists. In the first issue the spooks members see what they are up against with seven foot werewolves and then Frankenstein’s monster joins in at the end of the issue. I think this series could be really entertaining, but would like to see more development from the members of the task force. Right now, they just seem to be cardboard cut outs of characters.

I look forward to the series, but this issue was just not enough of a taste to keep me involved. In my opinion no one will ever write the story of humanity versus supernatural forces better than Mike Mignola. To see why he writes the ultimate end of the world story see my post at http://www.comicbookjournal.net/why-i-like-mike-mignola/

Now about the art. Adam Archer has made me believe werewolves exist they were literally jumping off the page. This is dynamic action, nicely rendered beings, brilliant backgrounds. And what I like most about Archer’s artwork is it flowed. It is clear that this issue was storyboarded and planned out before he drew even the first panel. Careful planning plus attention to detail equal outstanding artwork.

On a scale of one to ten I’d have to give this book a solid seven out of ten. While it’s a great starting point for a new series, that’s all it does is give a sample of what could be greatness. I’d have to have more of a sense of direction as to where the story will be taken before I could give it a ten. Sorry Devil’s I’ll give you your Due, but I’d just recommend this story to a casual reader who is looking for some fluff reading on the bus.

I just picked up Simon Dark out of curiosity and to my surprise, it’s a great find. The last time I remember reading anything by Steve Niles, he had just recently revamped Punisher for Marvel and turned him into a walked zombie of sorts. With Steve Niles fondness for horror, I knew to expect something dark, as the title indicates, but I didn’t think I would see something this dark coming from DC without being under the Vertigo imprint.

With that said, Simon Dark is a cross between Edward Scissorhands, Frankenstein, and the Punisher. It also reminds me of the Spectre, in his early days. Simon Dark the main character of the series, is a made man, who had his body basically sewn together out of parts of others. He sees life and death as black and white, yet has no knowledge that humans need all of their body parts, particularly their heads. Through this issue he hunts down a criminal who killed his beloved pet and murders them.

With this grim of a plot, surprisingly, I liked the story and as a reader I did feel for Simon, it is this ability to convey humanity through dialogue which gives Simon his likability. Simon Dark is a winner. Niles plotting and structure is the best I’ve seen come out of a horror book for quite sometime (since Buffy) and I cannot speak enough about Scott Hampton’s artwork. His pencils are dynamic, no character goes without being lovingly rendered, and the backgrounds are gorgeous. I can’t say how well-balanced everything in his artwork is, so I though I’d include a page here:

On a scale of one to ten, I’d have to give this book a nine out of ten. The only flaw I can see in this series so far is the choice to leave a title this grim and graphic in the regular DC lineup rather than have it printed under Vertigo, specifically for mature readers. This one is a keeper I’ll probably pick up the first few issues and finish out the series you should too.

So what has the Punisher been up to since Niles left? I know, do you? Check out my blog at http://www.comicbookjournal.net/punisher-war-journal-16/ for the rest of the details.

I review some Punisher before, and I didn’t think I would ever really like Punisher again, but I’m finally surprised. Matt Fraction has practically taken over the Marvel Universe as a writer and I can finally understand why. Punisher War Journal #16 is a tale where Frank Castle only has one appearance, but his actions can be felt throughout. The plot is original. The story follows a group of Castle’s enemies who have formed a survivors’ group after he blew up a bar where they gathered. Their injuries all prove to be life-altering as one is left without the use of his legs, and the main character of the story, Martin, is horribly disfigured. He bandages his face and hangs up newspapers over the mirrors in his home he shares with his blind wife, in an invisible man type of situation, hoping the world will not see his exterior. He buys a gun to kill the Punisher, but when the Punisher shows up and kills an abusive pimp Martin learns that exteriors can be deceiving. Frank Castle lets Martin go home to his wife and promise to behave.

With this quiet tale of mercy and grace, Fraction proves he has the chops to helm not only the Punisher, but the rest of the Marvel Universe as well. His pacing was on key throughout the entire issue, his dialogue was believable, and his ending wrapped everything up tidily. This is how a comic book should be written, especially a stand alone like this.

The art was equally amazing Chaykin, I’m pleased to say is back within he element as he shows detail throughout the book in his backgrounds, and also illustrates Martin’s disfigurement nicely without letting that take away from the rest of the character’s expressions. He also did an excellent job on Castle himself, letting mercy show through subtle facial expressions and perspective changes. Great job by Chaykin.

I haven’t read a solid stand alone like this since Battlestar and I have to give Fraction and Chaykin props. I’d give this book a solid ten out of ten. I’d recommend this book for someone who has not picked up a comic book in years, or even a new reader as a great jumping on point, as it is an example of excellent plotting and pencil work. I wouldn’t be surprised if this issue is nominated for an Eisner. It should be.

For a review of a previous issue see my blog, http://www.comicbookjournal.net/whats-black-and-white-and-red-all-over/.

I haven’t read an issue of Gen 13 since I picked up an annual more than a few years back, so I thought it would be fun to revisit the Gen kids. The reason I quit reading the title, other than tired plotting, was the artwork always detracted from these lovable characters. I’m afraid to say that not much has changed since I stopped reading the title. I was refreshed to find that the original cast is still around with Fairchild, Burnout, Grunge and the rest of the gang still causing mischief.

This issue centered on another mind game. As the kids discover (again) that one of their own is a plant by I.O. Sadly, they discovered the same in the original series with John Lynch, their founder/caretaker. So why are we revisiting this same plot line. To save the others, Fairchild must survive a machine that makes her relive her most painful memories visually and will electrocute her if she gets too angry. While an intriguing concept, which could have played nicely into another back story or perhaps even story arc it ended to lead to another storyline to find out who the traitor in the midst is.

Gen 13 has always been New Mutants meets Big Brother, and at first, under the helm of J. Scott Campbell and Jim Lee it was refreshing, and could have been the X-Men for a new generation. Sadly this title reeks of wasted potential. The artwork is too heavy handed, and I don’t know if it’s a style thing for Oliver, but I could not find one panel where a character’s nose was not over-exaggerated or their eyes not crossed slightly. It was clearly amateurish. I had high hopes for this issue but I was ultimately disappointed.

I would have to give this book a five out of ten. The plotting, with a new storyline could be great, however it fails to meet its potential. The same could be said for the artwork. I would recommend this only for the avid collector who must get EVERY single issue of a particular title.

For the best book for 2008 so far, see my post on Battlestar at
http://www.comicbookjournal.net/battlestar-is-pure-dynamite/.

Way back in August I wrote a brief blog on my favorite writer Steve Segal. If you want to walk down memory lane to see why I picked him, see http://www.comicbookjournal.net/whos-your-favorite-writer/.
This issue marks the last issue of American Virgin, the story of Adam Chamberlain as he lives an abnormal life as a young adult who can hear God and strives to “save himself,” both literally and figuratively.

For those who had been aboard this title from the very beginning, there was only one way the story could end and Segal ties up the loose ends very nicely, by giving Adam a requiem and killing off the title character as he comes home pure. Stylistically this final issue had a nice touch, with very subtle backgrounds and the characters are, as always, nicely rendered. Becky Cloonan had a very successful run with this series, and proves that while her style, artistically speaking, is not fit for a lot of titles, she proves she is consistent and has been so throughout the series. The colors are as always appropriate and subdued and especially with the scenes with Satan, serve to contrast the duality in good and evil; right and wrong effortlessly.

As far as plotting goes, Segal, ends the series on a high point, but on the flip side, it seems rushed somewhat. With only twenty-three issues, I am left wondering if the series was prematurely canceled or it was a deliberate choice to leave the series at this point. This issues is definitely not a great jumping on point for new readers, but does justice to the series if a reader wanted to try something different then prehaps read the series in its entire run.

I will attempt now to put aside my fondness for Segal and company to give this book a rating. As a single issue I’d give the book a solid seven out of ten. What is it missing? Well not everyone will jump on board with a main character who is a young adult with no outwardly special powers or great plight. So characterization is a little off sometimes, also at times the series is not as readable as it should be, meaning transitions are off between the reality of Adam being with God and the previous events, which are told through flashbacks and memory. Also there are times when the art is a little loose and some characters are sketchy and not well refined.

On a whole the series is brilliant while read in over a few sittings. This is definitely a series that should be complied into a complete graphic novel. For the series, I’d give it a nine out of ten for originality, and overall readability. Check it out you will not be disappointed. I recommend it for mature readers looking for something more than typical superhero fare.

Sci-fi is often an overlooked genre in both fiction and comic books as well. Sometimes it can surprise you when you fall in love with a character or series. That’s why I thought I’d give 2000 AD a shot. I have never read this legendary UK magazine for fear it would be only weak Judge Dredd stories. Ain’t it Cool News, as it touts on the cover, said that nobody does sci-fi better so I thought why not. Maybe I have misconceptions about this title. I have to say that I was a little disappointed in this title. I think that Ain’t it Cool News should have said that 2000 AD has the MOST sci-fi anywhere, not necessarily the best. Being an anthology format, I like how the title does give a diverse sampling of different stories, but there is just not enough of any story to make a judgment on the title as a stand alone series.

The best thing about 2000 AD as it’s true sci-fi: aliens, different world, future stories, and dystopias are plentiful. For the most part the art is detailed enough, and the ads are not interruptive of any storylines, but it just does not have the same effect as a whole comic book.

The worst thing about the anthology is it does seem a little dated, almost as if it’s stuck in the mid nineteen eighties. There is really nothing unique about any of the stories in the issues, the highlight was the mini story of Shakara and Henry Flint’s artwork. I think that he is an artist to watch if he ever brings his artwork to the states, with another vehicle his bold lines, and heavy detailing could make him an outstanding professional in the industry, but he does need more than eight pages and more polishing to refine his style.

I think the major difference in the work has to be the definition of what in the US has become sci-fi with space operas such as the best title nobody seems to be reading: see my review of Battlestar Galactica at : http://www.comicbookjournal.net/battlestar-is-pure-dynamite/; and the overseas interpretation of sci-fi filled with paranoid political viewpoints and dystopian nightmares.

Overall I’d have to give this title a six out of ten. I’d recommend it for someone who’s never watched Doctor Who, Judge Dredd, or read Frank Miller’s Ronin, for a taste of diversity in sci-fi.

While I was reading this, I realized that I had never read anything by Brian Azzarello before even though he has become a bit of a legend for his style in the comics world. Let me start by saying I think this title is the perfect fit for him because he is definitely non traditional with his technique. I don’t know much about his background, but my bet is he was a screenwriter before coming to the comics world. His pacing is fantastic, with cut scenes between the separate narratives timed perfectly. This what I have to say I liked best about the book. If this was a traditional Marvel or DC title, I don’t think it would have kept my attention though. He moves slowly to develop the story over a period of time, and I don’t think with a stand alone issue it would work. This issue shows a group of kids and the aftermath of a crime. One of their friends had his brains blew out of his head (literally) in front of them and they are left to try and understand why. Eduardo Risso’s art is subdued thanks to excellent coloring techniques and his loose rendering seems to fit with the atmosphere with this title.

While Azzarello tells a good crime story, I was left thinking afterwards, he doesn’t do noir very well. And let there be no mistake not all crime stories are noir, nor should they be. Frank Miller could have done this particular issue better, as I have hereby decreed him the king of noir, with Sin City. So I tip my hat to Brian for his careful planning and meticulous plot work, but I think his characterization is a little off, even in attempting to make it emotionally wrought with the inexplicable death of a teenager he fails to connect in a way. I just didn’t care what happened to the characters. Maybe if I had read the series up to this point I would have had more understand of why this event was important, but that’s the point I hadn’t. This title is not accessible to new readers which could kill its sales.

Everything together I would have to give this issue a seven out of ten. While it is an excellent read, it would be so much better if it didn’t have mob elements threw in the mix and had a “previously…” section for new readers. I say pick up this issue if you’re looking for a good read on a rainy Sunday morning–don’t pick up this issue if you’re looking for a jumping on point for the series.

If you like this type of continuing storyline and want to see the perfect example of noir and mystery read my favorite title from last year Durwin Talbot’s Bonds. If you haven’t seen it already here’s my review. http://www.comicbookjournal.net/the-ties-that-bond/ I recommend this every chance I get.

It’s good to see you guys again. It’s been a hectic month as I’ve mentioned before, but don’t think I haven’t been writing. I’ve been collecting posts like postage stamps or rare coins, just waiting to show them off. So are you ready to see what I’ve reviewed and learned this month? Well hang on, because it’s all coming to you at once.

Superhero Movie opened this past weekend so I thought I’d take a moment to reflect. The fact of the matter is the parody is dying. The greatest spoof of all time, I think was the original Airplane with Leslie Neilson, but even he didn’t seem to breathe life in the genre film of today. Now I haven’t seem Superhero Movie yet, I’ll wait for the cheaper DVD rental, but I don’t think it would be a very wise investment of my time or money. I’m sure there’s a few standard guffaw moments, but probably wouldn’t have me laughing so hard I cry. There’s nothing in recent memory I’ve seen that has accomplished that. I chuckled throughout Talledegha Nights, but recalling scenes and laughing at them again, that hasn’t happened in a very long time. Now at pop culture buzz there is a trailer posted at http://www.popculturebuzz.com/the-super-hero-movie-trailer-is-silly-fun/ so if you want to at least take a look at the trailer there it is. As far as silly fun, I don’t know, I think it’s probably going to be a superawful movie. If you have time to kill and money to waste you might want to check it out, but I can almost guarantee it falls into the same tired Scary Movie, Not Another Teen Movie, Epic Movie, Superman Returns, Superhero Movie, category. With a lackluster plot and few shining moments. The parody is dead. Let it rest in piece. I thought I’d throw Superman Returns in there to see if you were paying attention. It was, admittedly, just as awful though.

Coming Next–Reviews!

It’s been awhile again hasn’t it? Admittedly February didn’t go as planned and I didn’t get quite as many reviews completed as I wanted to, but it’s time to push onward. I have a day job and the demands of the workplace has been great for the past week or so. We now have “mandatory overtime” (what an oxymoron!) and it’s been cutting into my time to read, review, and of course impart all of my acquired wisdom on my adoring audience (lol). I’d like to start by showcasing a blog on fiction scribe, which is one of my favorites. This post should be required reading not just for new or novice authors, but seasoned veterans of the written word as well. Check out http://www.fictionscribe.com/pet-peeve-52-elitist-poets/
So how do do comic book writers pinpoint their audience? I think the great thing about comics, especially today’s comics which often transcend medium and genre, is the audience can never be isolated to one group. Today comic fans range in age, income, race, and class. Also, iconic heros tend to break down these barriers, we’ll take Superman or Batman, everyone knows these heros worldwide. If you ask a writer of any of these titles who he is writing for the response would have to be, “everyone.” Just some food for thought. Know your audience and more importantly, know thyself. So I’m glad to see you again and we’ll make it through March together.