As long as I've been reading comics and reading about comics, there are so many characters I have heard of but have never read. Top Cow's Magdalena is one of those characters. After reading the first issue in the new Magdalena series, I'm wondering why I just now discovered this title. Take the adventure and snark of Danger Girl and mix it with BPRD-style demon hunting, and you have Ron Marz's Magdalena.
When reading this book I got the sense that there was an established story, but Marz does a great job of bringing new readers into the mythos of Magdalena. He skillfully integrates the history into conversations so it doesn't feel like a recap. In this book the first encounter we have with Patience, the current Magdalena, is in conversations about her. She's gone rogue, and there is another Magdalena-in-training waiting in the wings. Kristof travels to Elba to find Patience, who is a dynamic character. Her dialogue with Kristof is snappy--she doesn't pull any punches. She's flirtatious, but she's also very serious about her issues with the Church. Marz also throws in a little demon-hunting action for good measure, and it all adds up to a great first issue.
Along with this story, Top Cow assembled a phenomenal art team for this book. Nelson Blake II's pencils, augmented by Sal Regla's inks and Dave McCaig's colors are beautiful. The splash describing the history of the Magdalena is one of the most gorgeous splashes I've seen in a while. They even make the demon-hunting pretty. The most beautiful piece of all is Ryan Sook's cover art, but then I would say that about any book where Ryan Sook works his cover magic.
All in all this is a fantastic relaunch of a Top Cow title. It made me want to go back and read more of the past Magdalena stories, as well as adding this to my pull list. It's interesting, fun, and exciting.
Stacey Rader
Review Editor
Read more...
Read More
The Amazing Race, Uncle Scrooge-styleFoundation and symbol of his untold wealth, Uncle Scrooge keeps the first dime he ever earned close to heart. The fiendish sorceress Magica De Spell recognizes the inherent magical powers of the dime and will stop at nothing to steal it from the gazillionaire of Duckburg.
Collecting issues 384-387 of the Uncle Scrooge series from Boom! Studios, Uncle Scrooge: The Hunt for Old Number One TPB follows Scrooge and Magica as they square off across Europe for possession of this talisman of prosperity.
The saga plays out like a season of the reality TV show The Amazing Race, with Uncle Scrooge, Donald Duck and Huey, Dewey and Louie either a step behind or a step ahead of Magica and Ratface (her talking raven assistant). We follow Scrooge as he takes a tour of Europe on various money-making opportunities while fending off Magica's devilish schemes.
The comic is a lightearted mix of adventure, magic, mystery and history masterfully woven together by author Per-Erik Hedman. The tales have a delightful internal consistency to them, becoming a whimsical blend of Indiana Jones swashbuckling and Disney fantasy.
There are six distinct chapters which each occur in a different European locale. Hedman creates a unique atmosphere in each story which really gives you a taste for the individual countries:
1. The Ghostly Carriage (Germany)
2. Salt and Gold (Poland)
3. His Ancestor's Diamonds (the Netherlands)
4. The Weapons of the Vikings (Denmark)
5. The Gold Hunt (Finland)
6. The Fateful Hour (Italy)
Inventor Gyro Gearloose, perpetual ne'er-do-wellers The Beagle Boys, and arch-rival Flintheart Glomgold appear in different chapters as guest stars, ensuring that the race between Scrooge and Magica doesn't devolve into meaningless repetition.
Though older readers might find some of the stories too simplistic, Hedman continues the honoured Uncle Scrooge tradition of Carl Banks and Don Rosa in making this the thinking fan's book in the Disney stable - always adding little twists and turns to each episode and crafting them with care and precision.
The artwork by Wanda Gattino is disarminly beautiful in a similar vein to Charles Schulz's classic Peanuts strip. With very few lines she manages to convey emotion, tension and action. It's a wonder that sometimes less can be so much more, especially amongst a world of overdrawn superhero comics.
Although Boom's policy of multiple covers can seem unnecessary or exploitative, the 13 covers in the appendix to this volume contain some real gems which serve to enhance the character and largesse of Uncle Scrooge.
These 96 pages of stories may seem linear to some but will provide hours of pleasure to avid fans and an excellent introduction to the world of Scrooge for newcomers.
Adam Paige
Senior Reviewer
Read more...
Read More
The plot thickens in this IDW sequel to Transformers: Revenge of the Fallen as the Autobot/Human task force, NEST, is in danger of being shut down in the wake of the Decepticon attack on the pertrochemical facility from last issue. The still-mysterious group of humans known as Project Nefarious continue their plans, apparently to regrow the All Spark for their own purposes. Meanwhile, Soundwave and his agents come closer to uncovering the conspiracy.
Soundwave again takes center stage in this issue, as the de facto leader of the Decepticons on Earth in the wake of Megatron and Starscream's departure at the end of Revenge of the Fallen while the Autobots struggle with their fragile human alliance. The storyline about the American government's hesitation about working with the Autobots continues here. Soundwave finally touches down on Earth, to tangle with the Autobots and will either be their prisoner or ally.
This episode features some new movie-verse characters and some that we have already seen. It is nice to see that they are getting some use of out Sideswipe and he is very much a vain and impulsive young Autobot in the tradition of Sunstreaker, Hot Rod, and Cheetor. So even if he is not directly based on his G1 namesake, he at least feels like a Transformers character. I was slightly confused by the appearance of what looks like Sideways on page 10. I hope the comics are not getting into the movie's habit of casually resurrecting deceased characters. I was also disappointed to see that Soundwave had not adopted an terrestrial alt mode. I was hoping to see the truck alt mode that was rumored to have been scrapped from the movie. I am also not a fan of how his dialogue was written in this movie. Soundwave should always speak simply and directly, preferably as little as possibe, instead of the rather arch way he is written here. This is also true of Dirt Boss' little personal manifesto on 16/17. Characters shouldn't be talking about their motivations in the middle of a fight.
Transformers: Nafarious #2 continues and builds on the solid setup from Issue 1. The story seems to be moving towards an interesting alliance between the Autobots and Soundwave's Decepticons to find and destroy the people behind Project Nefarious. There are a few missteps but Nefarious is actually telling a compelling story in the movie universe.
Patrick Garone
Creative Director
Read more...
Read More
Sometimes my various circles of geekiness converge in this perfect Venn diagram way, like nerdcore/geek rock, geeky Threadless t-shirts, and comic book movies. The beauty of being a geek who is interested in everything is that this happens all the time. What's really beautiful to a lit geek like me, is that I enjoy Shakespeare just as much as I enjoy my weekly comic fix. Apparently I'm not the only one--IDW brings us Kill Shakespeare, a creative, gorgeously-drawn matryoshka of a story that brings back the Bard's characters in an innovative way.
Shakespeare, though extremely prevalent in our culture, is one of those writers who can be polarizing. Lit geeks love the flowery language and iambic pentameter; others don't want to wade through all of the poetry to get to the heart of the story. Wherever you fall in that spectrum, writers Conor McCreery and Anthony Del Col have got a tale for you. It's as if the characters housed in my Complete Works of William Shakespeare volumes have climbed out of their respective plays to visit one another. When taking on this kind of story, it would be easy to make it seem ridiculous or border on parody. This is not the case with Kill Shakespeare. With the debut issue, McCreery and Del Col begin weaving a complex tapestry of characters and plot that has the potential to be one of the best series this year. In the opener, Hamlet, traveling with Rosencrantz and Guildenstern, winds up in a completely different place than you remember from lit class, and with completely different consequences. Throw in some familiar hags and a nefarious plot to kill the Bard, and you've got me running to my local comic shop to add this to the pull list.
Adding his talents to this comic is artist Andy Belanger. I'm not familiar with anything else he's done, but with this issue, I'm a fan. His art has a Guy Davis quality to it, which suits the supernatural qualities of this book. Ian Herring does a fantastic job coloring Belanger's art, setting the proper moods on each page. Cover duties are shared by Kagan McLeod and Andy Belanger, and both covers are equally beautiful.
This book is a must-buy for anyone who likes Shakespeare or fans of books like Fables and League of Extraordinary Gentlemen, and it's a great gateway for that literary friend who says that comics have no substance.
Stacey Rader
Review Editor
Read more...
Read More
In principle I ought to love this comic; Edgar Allan Poe in a supernatural crime thrilled in 1840's Baltimore? That should be right in my wheelhouse; I'm an English teacher, Baltimore is my hometown, I have a high regard for Poe as a poet and critic, and I love supernatural crime thrillers, such as Hellboy and the B.R.P.D. or Jim Butcher's Harry Dresden novels. 
But somehow, this TPB collection from Boom! Studios just falls a little flat. It's good, it's readable, it's entertaining, but it never quite manages to live up to its premise, and I think the reason is simple; it's a hodge-podge. Edgar Allan Poe as detective? Sure, even with the supernatural elements. The problem is that it reads as though the authors decided to include every one of Poe's best known stories and poems into one four-issue comic series. The Fall of the House of Usher, The Masque of the Red Death, the Cask of Amontillado, The Raven, Annabel Lee...all of them, and more, make it in. It's too many in too short a space; the idea of Poe as a supernatural detective is interesting enough to support more than one series, and by cramming so many of the best known works into one story does not serve the best interest of that idea. It becomes cluttered.
I must point out something in the book's favor; it makes no references to Poe being any kind of an opium addict, which he was not, despite what poorly researched 8th grade literature textbooks and uneducated Poe fans will tell you. It does place him in a mental hospital, which is equally as problematic, but then, it is a comic book, not a biography. Still, I must protest any promulgation of the nonsense that Poe was some kind of lunatic. In all honesty, the book doesn't go too far in that direction. It generally depicts Poe as a man of incredible imagination, superstition, and knowledge. Superstition I can handle, and it is an amusing character trait as he instructs other characters what to do or not to do at any given moment.
The art of this book does not always thrill. At times, Poe's face is in a very recognizable way; at other times, the angle or proportions seem odd. The color palette is very muted, which provides wonderful contrast in the few moments when it suddenly gets very colorful. A larger problem is the backgrounds, or lack of them. Given a backdrop of 1840's Baltimore, I had hoped to see panels backed with interesting cityscape and the thriving Baltimore Harbor. Instead, for the most part, we get heavily inked brown soup.
Is Poe worth your time? If you are a truly devoted fan of Poe, of supernatural crime thriller, or both, perhaps, yes. The Poe character that is created here is interesting, historical liberties aside. The art is at times intriguing and at others forgettable, but I couldn't say it detracts from the better parts of the book. Ultimately it's a neat idea that hits an occasional high note, but never quite lives up to its promise.
Dan Ford
Staff Reviewer
Read more...
Read More
Cold Space takes place 2000 years in the future. This futuristic tale of space cowboys is about an arms dealer on the run from the galactic officials. Our hero crashes lands on a planet torn apart by civil war. This accident turns in to an opportunity for him to make some quick cash. This story is written by Samuel L. Jackson and Eric Calderon. This team is also known for their pervious story of Afro Samurai. 
I find this comic a repeat of an old gun runner stories. Our hero is in need of some quick cash and conveniently after his crash landing he is surrounded by friends. This could easily be called Pulp Fiction in space. I don’t consider this a bad thing, but the first issue did not blow me away. I do have hope for this series. This story needs a lot of work on originality and character development.
The artwork puts me in mind of old Heavy Metal comics. While I was reading this I could almost hear Dio playing in the background. This is nice and basic, not a lot of elaborate colors. Each one of the character that are drawn have great detail. Samuel L. Jackson characters look like he was just put right in the pages of the comic. I give high kudos to the artist.
Stop watching reality television and read a book
Chip Carroll
Staff Reviewer
Read more...
Read More
IDW's Weekly World News wraps up its first story arc, "The Irredemption of Ed Anger" with Part 4 this month. When we left Ed Anger in issue 3, he had successfully brought about the end of the world in the form of an angry cloud, due mostly because of Ed's anti-freak campaign. Would Ed be able to put aside his prejudices long enough to save the world? Would this be a story that readers actually want to read past the captions on the cover? 
The answer to the first question, I'm not telling. The answer to the second? Absolutely. Alan Robinson, through all four issues, has written a story that is captivating and filled with pop culture goodies, not to mention tongue-in-cheek humor and freaks. Ed Anger's prejudices and grumpiness are a funny version of Clint Eastwood in Gran Torino if the neighbors were the likes of Manigator, Ph.D. Ape, and the ever-popular Bat Boy. The story is ridiculous in all the right ways and filled with smart, witty dialogue.
Alan Robinson's art is just the right combination of cartoonish and realistic, making all of the characters fit perfectly in this little world. And the colors are fantastic. If Weekly World News is junk food for the brain, Tom Smith's colors are the icing squiggles on the chocolate cupcake. These guys make a giant French-speaking cloud pop off the page. Cover duties were shared by Alan Robinson and Jon Reed. Robinson's cover is the standard tabloid-style cover (complete with my favorite caption of the week "Mint Condition! (Until you touch it!)"). I love Robinson's color work on the cover, especially the sparkle in Bat Boy's eyes. Reed's cover (colored by Tom Smith) is a portrait of everyone's favorite redneck freak, Manigator.
The bottom line on this book: read it for the cool story, read it for the freaks, read it for the pop culture Easter eggs. Whatever reason you choose to read this book, read it.
Stacey Rader
Review Editor
Read more...
Read More
Before it was all over the media with film trailers and stories of controversy, Kick-Ass was Mark Millar's new collaboration with John Romita, Jr. One of my local comic shops was part of the poster campaign, so I heard about it at the beginning. Published by Marvel's ICON imprint, the comic is a must-read, especially with the film opening this week in the US. Millar and Romita have created a story that's visceral, violent, and fun.
I've been a fan of this book since I saw the first issue on the shelf at my local comic shop. It's hard to miss, with "KICK-ASS" emblazoned across the cover in bold type, not to mention the hyperbolic statement, "The greatest superhero of all time is finally here!" Kick-Ass might not be the greatest superhero of all time, but the comic is one of the greatest I've read. The story could be about any comic fan who dared to ask what would happen if one of us tried what we read about every week? Most likely our fate would be pretty close to Dave Lizewski; we'd get our asses kicked and wind up in the hospital. But maybe one person would actually do some good or get mixed up with some other hero-types and get more than he bargained for. Therein lies the genius of Kick-Ass. Millar doesn't give us a hero that gets in over his head and triumphs on his own. He almost gets killed. He gets humiliated. He gets saved by a 10-year-old girl.
That brings me to Hit-Girl. She is one of my top 10 favorite characters of all time, and she's a 10-year-old. Most 10-year-olds I know are not what I want to read about when I crack open a comic, but Hit-Girl is. She's funny, she's foul-mouthed, and she can rock blades like Beatrix Kiddo and the Crazy 88 combined. Much of the controversy surrounding the film is attributed to Millar's handling of her character. Critics say it's unhealthy behavior for a kid her age to be engaging in violence and cursing. Well, duh. That's what makes it great reading--not because we want to be like Big Daddy and create a pint-sized assassin, but because it's great commentary on how parents can really damage their kids in the interest of what they think is best for them.
There are so many interesting elements in the story it's hard to mention them all. I loved the family dynamics: Dave and his dad, Hit-Girl and Big Daddy, Chris and his dad. I loved Kick-Ass's rise to fame, and his awful initiation into the world of being a superhero. Dave truly is an Everyman (or more aptly, an Everynerd). Stan Lee used to say that people liked Marvel Comics because they featured real people with real problems. Dave Lizewski certainly fills that bill.
John Romita, Jr.'s art makes the comic. I'm used to his work on Spider-Man, and this is much different. He mastered the art of gore in the pages of Kick-Ass. You can see that in his cover work. One great thing about this series is that there are pages where there's not a lot of dialogue. Romita's action sequences shine in these pages with blood and guts and gore in the very best way. Is it weird to say that he makes violence beautiful? I don't think so. (I also asked myself that question of Kill Bill and Quentin Tarantino, and the answer was no there as well.)
The truth is, this isn't a book for everyone. It's gritty, violent, and irreverent in all the best ways. That being said, it could be a great introduction to comics for that friend you have who loves violent movies and says superhero books don't have a backbone. If you haven't gotten a chance to read this yet, you can pick up a hardcover at your local purveyor of comics and graphic novels, and you can catch it on the big screen this Friday. Trust me, you'll kick yourself if you miss this one.
Stacey Rader
Review Editor
Read more...
Read More
It's hard not to start this review with "Oh boy! Oh boy! 28 Days Later!". (Oh, wait, I kinda did.) Michael Alan Nelson continues to make this a book I eagerly anticipate each month. BOOM! Studios' 28 Days Later, now on its 9th issue, tells a phenomenal survivor story that's surprisingly fresh, especially for a story arc that falls between two movies that have already been released.
Nelson brings us back to the reunited survivors, who are tending to their wounded friend. He's blind, which adds some new complications. Nevertheless, they are eager to continue their journey. This time they have a tagalong--Douglas, the kid they brought back from their excursion in issue #8. And a familiar face from the film returns to complicate things. What happens next? Well, you'll have to read it!
Leonardo Manco offers his talents as artist in this issue. His style fits this story, but I'm a fan of Declan Shalvey's work on this book so far. That's why I was excited to see his cover work. Sean Phillips also contributes a gorgeous cover. Manco's art really shines in the facial closeups. He draws Selena's softer side very well. If I can't have Shalvey's art, Manco's is a close second.
Anyone who reads this site regularly knows I am a fan of this book, and you should be, too. Nelson and crew have created a zombie book that's so good, it doesn't even have to have zombies in it for me to adore every page. So pick this book up, already, and remember: There are bears in the woods. (Trust me, it's funny when you read this issue.)
Stacey Rader
Review Editor
Read more...
Read More
Codebreakers is a new title form Boom studios. This story is about agents that break codes for the United States F.B.I in Quantico. Our hero, Stan is quickly introduced with his roundabout of additional cast member, with a slight twist and turn Stan is kidnapped. 
Boom Studios does not disappoint in their new comic book. This story will need a lot of a new imagination to keep the story fresh. The new characters that were introduced will need strong personality to keep this story going for many months. The key here is the Individuality of each character this will be essential to this storyline if Boom wants to keep this a successful story. The artwork is based with earth toned, not a lot of loud and brilliant colors that contrast the pages.
I am looking forward to seeing the villains in this story. The villain will have to be smart and well connected in the political world. I enjoy reading a good mystery and I hope this will be a great mystery to share with my friends. We as readers always want something to read and to talk about with our friends.
Stop watching reality and read more books
Chip Carroll
Staff Reviewer
Read more...
Read More
Woefully unoriginal and rather unsatisfyingBoom Studios! often gives the impression of preferring quantity over quality. No sooner did they nab the Mickey Mouse/Donald Duck stable of comics than are they churning out a plethora of related titles, including Disney's Hero Squad: Ultraheroes.
Divided into two parts, we first find the Duck Avenger in combat with the Ink Blot over an ultrapod (a sort of infinity fractal à la Mavel Super Hero Squad). Their sparring is mind-numbingly mundane, with the requisite near-misses with subway trains, super powers which permit freezing and melting, and inane chatter.
Now perhaps some comics fans will be content to see this same sort of super-hero clash over and over again like an overweight sports fan slogging down beer and chips as he whiles away the bright summer days watching baseball games. But I for one cannot stand for such lack of creativity in comic books, which are meant to be a creative medium and not a mere repetition of tasks as if they were mimicking a factory job.
The second vignette in the first half of the book has Mickey looking at security tapes then getting captured by a Doctor Octopus doppelgänger. While reviewing the recordings, Mickey's flashlight and pile of papers shift from one side to another, further proof of Boom! releasing a speedily-produced product into marketplace.
The second half of the book is a translated reprint of a story from Europe and is far superior to the beginning of the issue. It goes to show that the Duck characters can be made fascinating and loveable when in the hands of the right craftsmen. However, as soon as this origin story of the Red Bat really gets rolling, it's abruptly cut off by the book's page number limit - extremely frustrating for a children's book. There's a good reason why kid fare like DC Super Friends have one story per issue - because the wee folk want to know the ending!
Overall, the book is a letdown from an art and writing point of view in the first half and from an editing point of view in the second half. Makes one wonder why Boom! even bothers to release individual issues instead of Trade Paperbacks right off the bat.
Part One: Good & Evil
Writer: Alessandro Ferrari
Artist: Antonello Dalena
Part Two: Origin of the Red Bat
Writer: Ivan Saidenberg
Artist: Carlos Edgard Herrero
In stores March 31, 2010
Adam Paige
Senior Reviewer
Read more...
Read More
A few of the Post staffers got together Wednesday night to discuss Blackest Night on the release day of Blackest Night #8, the final book in the event that spanned almost a year in the DC Universe. Would the Blackest Night be a bright spot in the realm of crossover events, or would it be a black mark on DC's record? After a few technological hiccups, Chip Carroll, Jake Johnston, and I were ready to get the discussion started. (Spoilers ahead, so make sure you've read Blackest Night #8 before you read on.)
Stacey Rader: Alright, so Blackest Night--who wants to kick it off?
Jake Johnston: I was totally satisfied, but [I] have lots of questions. The Sinestro development got swept under the carpet too fast and whatever happened to Scarecrow?
SR: True, Jake. I was wondering the same thing about Scarecrow. Overall, I was impressed at how much they accomplished and how far reaching the consequences seem to be.
Chip Carroll: I agree with the questions. I picked up all the DC books that came with the story line, but like Jake said, [I have] many questions. It was one of the better series I have read over the past few years.
JJ: Agreed. I think it really raised the bar for major crossover series. It avoided many pitfalls we've seen in the past, like spreading things too thin and contrived plots just for the sake of including every title and character.
CC: This was a way for DC to bring back some of their old heroes using comic book logic.
JJ: Johns is such a student of old school practices and characters - the end results shouldn't be too surprising considering that.
SR: Totally. Some of them I was really excited to see, like Shiara, but others, like Max Lord, not so much. Maybe it's the Wonder Woman fan in me, but I wanted her Amazonian justice to stick.
JJ: Yeah - this will become frustrating if the Blackest Night consequences just rewrite everything that other plotlines have established.
CC: The last book had a better ending than most of the other big spotlight stories. The future of DC will change.
JJ: On a technical note, I love the surprise that a gatefold page can bring, but the placement between those sequential pages was a little awkward.
SR: So true, Jake. I was afraid it was going to be an ad, so I was glad it actually had something to do with the story.
LC: I can't wait to see what happens to the [Green Lantern] Corps. There were open stories with the Corps before Blackest Night and also Sinestro Wars.
JJ: I didn't read any of the side mini series - do you guys feel you got more out of Blackest Night for having read 'em?
SR: In some ways I think it did. Blackest Night: Wonder Woman really explained why making her a Star Sapphire made sense. Other titles, like the single issue relaunches, were just fun bonus stories.
CC: The side stories were good; the Teen Titans did play a part in the overall story.
JJ: I thought that the single issue revivals were one of the best marketing ideas we've seen in a long time - and it made total sense withing the context of the dead coming back to life.
SR: I didn't really read Green Lantern before this (much to my husband's dismay), but I think I'm going to stick with it. What about you guys? Did you read Green Lantern before? And does this make you want to keep up with it going forward?
JJ: I've always been a big Green Lantern fan, and really love Johns' work on the book - it's pretty exciting to see a b-list hero having such an effect on the rest of the DCU.
CC: I've been reading Green Lantern Corps since it came out a few years back. I have always like Guy, even back in the days when Guy had his own series. Probably will not continue to read Green Lantern; I don't like Hal.
SR: I'll say this, I have always been more of a DC fan, and this cements my love of the DCU. You can tell they really planned out this event and the repercussions. Well, except Scarecrow. But Johns is not one to leave loose ends, so I imagine Scarecrow is hiding somewhere with his Yellow Lantern ring waiting for his moment.
CC: The Blackest Night story has given me faith in DC again. [I] will start reading the major story lines.
SR: One of the biggest moments for me was in the last issue of Power Girl, where Palmiotti and Gray give a lighthearted nod to Blackest Night.
JJ: It's been really interesting reading this AND Marvel's Siege at the same time. I think they're both excellent examples of what a major crossover event can be - but they're both so different. Great illustrations of the difference between the DC spirit and the Marvel spirit.
CC: I have not read any Siege. I lost hope for Marvel over a year ago. The best part of the Blackest Night series was the rings the comic stores gave out with new issues.
JJ: The rings really were a great gimmick. Way to keep it fresh, DC.
SR: Agreed. I loved getting the rings. Definitely made for some fun pictures. From what I understand they're carrying that into Brightest Day.
CC: Yes, they are carrying the rings over.
JJ: At last year's SDCC, people at the Geoff Johns panel kept asking him to do an Aquaman Rebirth book and he kept tight lipped the whole time. Now we know why he was smiling.
SR: Reading Blackest Night made me wish Geoff Johns could write every title. I even bought the issue of Tiny Titans he wrote.
CC: Hell, i loved the Smallville [episode] Absolute Justice.
MassMessage: I did too, LC. Geoff Johns can make me care about characters I didn't care about before.
JJ: With Johns' new title [as Chief Creative Officer of DC Entertainment], it looks like we won't be doing as much writing. I don't see his name on as many books in the new issue of Previews.
JJ: From what I hear, Blackest Night was much better organized and edited than Morrison's Final Crisis crossovers - do you guys agree?
SR: I agree. It was good up until the last part of the last issue, when in typical Grant Morrison fashion, he just kinda goes a little off topic.
JJ: Let's talk about the amazing art - I think that Reis must be the new George Perez with all those massive group scenes. I liked the way that he seemed to be channeling Neal Adams when DM takes off his mask.
SR: The art was amazing, to be sure. Nice call on the Perez connection. I loved the spectral portrayals, as well. It was cool to see what emotions drove each character.
LC: The group artwork was great. The pages were easy to follow and read. The colors mesh so well together with the colors of the rings. Even the black gave life to the pages.
SR: I have to say that's not usually my favorite style, but it worked for Blackest Night.
SR: So here's a question: What do you think Boston Brand is feeling when he says he's not supposed to be here? Sadness? Bewilderment?
CC: He was feeling lost out of place. He did not belong.
JJ: That was weird and ominous - like he knows something that's wrong and they're setting us up to find out later there'll be some serious ramifications. Perhaps Deadman will be playing a bigger part in the DCU soon.
JJ: I'll be curious to find out why not everyone, like Ralph & Sue, came back. That's definitely a storyline waiting to happen.
SR: That's a good point--I wonder if that goes back to 52? I didn't read all of it, but I do remember an issue where Ralph messed with some weird forces to bring back Sue.
CC: There are a lot of new stories lines waiting to happen. That is why there are big gaps and small holes.
JJ: I think that one of Johns' major strengths is how he's able to end every issue with a big reveal that leaves you hanging. I think that with the popularity of trade paperbacks, that kind of writing is key to keep monthly books alive.
SR: I love Larfleeze. Such great comic relief, which was total Johns--right in the middle of something awful. I'll tell you a character I'd like to see more of is Saint Walker. His Tales of the Corps story was one of the best stories I've read.
JJ: Yeah, that Saint Walker story was amazing.
SR: I am excited to see what they do with Return of Bruce Wayne, and I love the nod to Bruce not being dead. I've been a Batman fan since I read Batman and the Outsiders as a kid.
CC: I cant wait to see what happens to Black Hand.
JJ: Do you guys think we're ever going to know what the Indigo Lanterns are talking about, or is it just always gonna be mysterious and open to interpretation?
SR: That's a good question. I tend to think we may never know what they're saying, but we haven't seen the last of them.
CC: I think DC has plans in the works.
JJ: The weakest point for me was in #8 when suddenly everyone just *becomes* a white lantern - as if the book was being written by a motivational speaker. A bit trite and abrupt.
SR: The whole "I want to LIVE!" bit was a little cheesy, but I get it. I had a total geek out moment with Halo in Outsiders, when she went back to her original form as an elemental. I told my husband before all this started that she would play a part somehow.
JJ: Yeah, that's definitely a trademark of Geoff Johns and I've learned to live with it as long as the rest of what he does has substance.
CC: Yeah, that was cheesy, but remember we are reading stories of adults in brightly colored spandex.
JJ: Touche.
SR: I get the impression he's a very happy-go-lucky guy. I follow him on Twitter, and his tweets are generally silly. (Like "Aw yeah, weekend!") But I mean, how couldn't you be if you were in his shoes? The guy gets paid to write comics and go to comic shows. He's living the fan's dream.
JJ: Yeah, he's absolutely a fan first. That's key to why his stories are the way they are - it's one of us writing these characters.
SR: So is Blackest Night something you would recommend to other comic readers?
JJ: Definitely! Although, there's a lot more satisfaction from it if you're familiar with past plotlines that Geoff Johns is obviously tapping. Like when Blackest Night started out, it was almost like a sequel to Identity Crisis.
SR: True. I don't think Blackest Night is what you hand to a non-comic reader as an introduction.
CC: Yes I would recommend.
SR: Is there anything else you want to say or discuss about Blackest Night?
JJ: Wow, it seems like there should be a lot to say about a series that packs so much into just 8 issues. But we all seemed to come away with is the questions and loose threads at the end. But in this case it's a good thing and I'm really excited that DC is letting Johns use their universe as his canvas with, apparently, no restraints.
SR: Yeah, this is the first time I've come away with questions after a series and seen it as a good thing. But maybe that should be the point of series like this--to set up new stories.
JJ: Again, this is his MO - Flash Rebirth did nothing but set up questions for the new regular series. It's as if Blackest Night was a way for Johns to introduce all these new ideas and fresh starts, and now the whole DCU is gonna have to run with it. Pretty impressive undertaking.
SR: Agreed. DC put its future in Johns' hands.
JJ: and that's a good line to end - it really sums it up. Fans of Johns could tell that for a while, but now everyone knows.
SR: So true. That's how we'll end it.
And there you have it. We at Pendragon's were impressed by the scope and influence this event had on the DC universe. Geoff Johns, Ivan Reis, and the rest of the writers and artists (not to mention editors, inkers, letterers, etc.) who worked on this project are to be applauded for what they achieved. Blackest Night set the standard for what a universe-wide crossover event should be, and we are all looking forward to what's in store during the Brightest Day and after.
*Special thanks to Chip Carroll and Jake Johnston for making this discussion possible.
Read more...
Read More
IDW's Transformers series continues on its dark and winding path with issue number 5. The looming conflict between the Autobots, Ultra Magnus, and Rodimus's renegade group of Cybertronians comes to a head in the new issue while Optimus continues his voluntary incarceration. Meanwhile, the Decepticons live up to their name...
The art is particularly good in this issue, particularly in the early pages featuring Optimus Prime. The art features a style that is very cool and detailed but still clear and based on classic Transformers. The character models seem to be halfway between the movie characters and those of the Classics/Universe toys. The art also recalls the Japanese roots of the franchise and in those early pages, Optimus looks very much like a futuristic samurai robot.
The Stunticons get a lot of attention in this issue, which is nice as these evil counterparts to the Autobots have been underused in Transformers media. A subplot involves the recovery of the deactivated Breakdown from the Spike Witwitcky and Skywatch. The issue ends with the betrayal of the Decepticons and the formation of Menasor. The art on these last half dozen panels is really stunning.
Overall, Transformers #5 continues the quality storytelling that we have come to expect from this new ongoing series, which is unafraid to take some risks with its characters and storytelling. So far a main character has been killed, the beloved leader of the Autobots is so doubtful about his role in the war that he has taken himself out of the equation, Ultra Magnus is a total schmuck, and Rodimus is a dumbass. I for one am happy that the writers are taking these very familiar characters and finding new aspects of their personalities to show off in a compelling story.
Patrick Garone
Creative Director
Read more...
Read More
Detective John Mcclane? No sir, this is beat cop Officer Mcclane. Assigned to foot patrol during the 4th of July celebration in the heart of New York City, it seemed it was going to be a long,hot day for John Mcclane. 
After some time it turns out that Mcclane scores some kind of luck when a wealthy women notices the handsome cop and asks the Commissioner of the NYPD himself that Officer Mcclane help with security on her yacht for a who's who party that night. Mcclane agrees but knows what the lady has in mind, and it's not Security. The plot of the series unfolds on the boat that night. It turns out to be a staged robbery/hit job and Officer Mcclane is there to kick some serious ass. Like the hero we know and love, Mcclane saves the day and ends up getting a promotion to Detective.
This book is a guilty pleasure of mine. The story starts off a little slow but you have to remember that this is the first time your seeing John Mcclane. It's interesting as you get a lot of back story on John Mcclane, like the fact that he served in Vietnam and how the war affected him.I'm glad to see that this book is getting more then just one run as the second series of year one books are already out and following Detective Mcclane on another busy day in the NYPD I'm sure.
Rick Alaia
Staff Reviewer
Read more...
Read More
It takes a lot for me to read a vampire story these days. With the media being plagued with vampire stories, I tend to shy away from them, just because I am tired of fangs and pale skin showing up everywhere. That's not to say I don't like vampires; I just don't like sub-par storytelling, especially when it comes to vampires. When I read the synopsis of Top Cow's Impaler, I decided to put my prejudices aside and give this vampire story a try. I am glad I did. William Harms and Matt Timson have created a story that is a solid vampire story, but also tells the story of humanity in crisis.
The premise is pretty straightforward: vampires have taken over the US, and those that are still alive are trying to survive. The survivors are a couple of GIs, a mother and child, a widower, and two dark horse heroes, Vlad and Victor. The tales of the survivors reminded me of reading Walking Dead, in that the monsters everyone's running from both polarize and unify--some people, like the widower, extend kindness to strangers in times of crisis. Others take what they can get in order to survive.
It's always interesting to me to see how vampires are portrayed in a story, whether they're the charismatic undead, charming the female population, or if they're more base creatures, lacking the ability to speak and even rejecting human needs like clothes. The vampires in this story are more of the latter. They can speak, but they are very pale and monster-like.
Harms' writing is beautifully complemented by Matt Timson's art. Timson's style visually depicts the bleakness the survivors face, where landscapes and interiors in neutral tans and grays give way to pools and spatters of blood. My favorite scenes were the wide angle shots, especially of the New Mexico desert.
I read this book not knowing what to expect, and I was really surprised at how much I enjoyed it. For something I had not heard of until this issue, it was one of the best out of the blue reads I've encountered in a while. This is a must-read for any horror comic fan.
Stacey Rader
Review Editor
Read more...
Read More
Amidst the superhero comics BOOM! Studios brings us Incorruptible, about a former villain, Max Damage, who is now trying to save the world from the Plutonian, a thinly-veiled Superman clone, who is hell-bent on destroying the humanity he once fought to save. In the latest chapter, Mark Waid continues telling an engaging story that packs plenty of action into this story of redemption.
This issue opens with Max telling Lt. Armadale more of his story about the death and destruction caused by former hero the Plutonian. Armadale still has some suspicions about Damage's motives, but for the most part he's on board with Damage's plans. Max is going to see an old enemy, and the action carries on from there. Once again Jailbait makes an appearance. I enjoy her character a great deal, especially her teenage tantrums.
Jean Diaz's art is spot on for this issue. From the opening Plutonian carnage to the cliffhanger ending, every panel is filled with color and movement fitting for the tone of the story. Cover art duties are shared by Rafael Albuquerque, Dennis Calero, and Jeffrey Spokes. My favorite cover is Albuquerque's, which could be because I'm a fan of his art, and because I'm a fan of giant robots. Plus Max's deadpan reaction is priceless.
Waid is right at home with this character and storyline, and as with most of his work, I'm left wanting more. Definitely pick up this title--it is a new twist on the superhero shtick that won't disappoint.
Stacey Rader
Review Editor
Read more...
Read More
Boom studios bring to the pages another Disney story. This is another tale of magic and adventure from the world of Disney. Mickey’s teacher is kidnapped and held for ransom. Mickey, Goofy, and Donald decide to go on a quest to attend a magic tournament to help raise money for the release of Mickey’s teacher. While the three heroes are traveling to the tournament they run in to monsters and villains from the classical Disney universe.
This comic stays true to the classic Disney characters. The artwork is also reminiscence of the classic Disney movies and other animated tales. This story is well written and full of little surprises. The plot of this series in not an original idea, many fantasy novels and comics repeat the magic tournament in their pages. I don’t consider the magic tournament a bad thing, just a bit over used in story lines.
Sometime you forget the simple things in life. This was a nice fun comic book to read. At first I did not want to read this comic because it was a comic for kids, but this comic did bring back the kid in me. I loved the cartoony style artwork. The story was simple, but fun. As adults readers we forget that comics were originally written for kids.
Stop watching reality television and read a book.
Chip Carroll
Staff Reviewer
Read more...
Read More
Dragon Age: Origins was one of the major videogame hits in 2009, a brand new franchise in an original fantasy setting from legendary RPG developer Bioware. The setting, the continent of Thedas, is rich with potential for storytelling in multiple media, far more than can be contained in any single comic series, novel, or videogame. I was thrilled to hear that IDW, publisher of some of my favorite current comics (such as G.I. Joe: Cobra) had the comic license, and I couldn't wait to read the first issue. Unfortunately, Dragon Age 1 met only one expectation; that video game tie-ins are a bad idea. 
What went wrong with this comic? Everything, that's what. First of all, aside from the following words - Chantry, Templar, Circle of Mages, Ferelden, Hurlock, Blood Mage - there was nothing that made this comic feel like it belonged in the Dragon Age world. Names and terms are window dressing, and in this comic, I'm frankly not entirely sure that the writers know what they mean or what some of the Dragon Age types, specifically blood mages and hurlocks...are actually capable of. Templars, in this comic, are a one note "all mages should just probably be executed" stereotype. The religion of Dragon Age...the fact that the actions of mages led to a perpetually vengeful, absentee deity...is ripe with complex storytelling possibility. Instead, what superstar writers Orson Scott Card and Aaron Johnston give us is a tired cliche about forbidden love (or lust) between two characters who are given zero motivation and zero development.
What do I mean by this? I would say that if you've played Dragon Age, really thoroughly explored its setting and know the world, and you drew up a list of "most cliched stories we can tell in this setting," love between a Templar and a Mage would be very high on the list, yes? I know it would be for me. Probably tops, in fact. And that's the story we're told. Characters who act without any apparent motivation are poor characters, period. When they act without motivation in a tired, cliched story...and are clearly doing what they are doing simply because the plot demands they do it...that's bad writing. Orson Scott Card and Aaron Johnston are not bad writers; Card has written some genuine classics. What happened here? I don't know. I do know that our main characters in this first issue...Sadatt and Veness...have no reason to fall for each other. None. I know that we know nothing about them except one is a Mage, one is a Templar, and they have a relationship because that's the story. We know nothing about their personalities. It's entirely possible they engage on their relationship based on adolescent hormones; great stories have been told that way (e.g., Romeo and Juliet) but this isn't one of them.
In the comic medium, great art can save a mediocre or even a bad story. But this art, by Mark Robinson, is so heavily stylized that I simply cannot stand it. In some panels, characters have no mouths. And I don't mean background characters. I mean characters in the foreground. Who are speaking. From behind a featureless wall of flesh, apparently. This is a problem for me. I also find the lack of visual continuity from one panel to another very distracting. In one panel, a character on horseback has a torch in one hand and the reins of his horse in the other. Next panel, the reins of his horse are tied around the scabbard of his sword, which would be distractingly dumb even if it didn't contradict what I just saw. When characters do have mouths, they are capable of two expressions; sneer and surprise. Mostly sneer. The swordplay is incredibly static and lackluster, as is the magic, which apparently always occurs in giant swooshy loops, instead of the balls, clouds, bolts, clouds, or bursts that happen in the game.
I cannot recommend this comic for anyone. I consider myself, honestly, as big a Dragon Age fan as there is; I've played the game to completion 4 times (and am still playing it). I've voraciously read its entire Codex. I'd bought every piece of DLC, would love to play the RPG, and plan to read the novel tie ins. This comic isn't a good comic or a good Dragon Age comic. You'll have to be a more devoted fan than me to love it.
Dan Ford
Staff Reviewer
Read more...
Read More
It has been over 25 years since the A-team has premiered on television. The A-team has survived history through reruns. Coming soon to theaters is a new movie with new actors filling these roles of our childhood vigilante heroes. The A-teams premiers on the comic book shelves and in this issue B.A. Baracuss stars in his own story. 
This is a one shot story of our Mohawk wearing anti-hero, B.A. Baracus. This is the tale of his downfall as a soldier in the military. The story is simple and not to compacted for the reader. The story has just the right amount of violence and plot to cover the 32 pages. This is a great little story to tide a person over until the movie premier within the next few months.
The artwork is surprisingly good for this story, it is similar to the current G.I Joe artwork in their comic books. If you are a fan of IDW military stories you will not be let down by this short story of B.A. Baracus. There will be two covers on your local news stands. One will be a picture of Quinton “Rampage” Jackson and the other will be a portrait drawing of him as B.A. Baracus.
Don’t watch reality television, read more books.
Chip Carroll
Staff Reviewer
Read more...
Read More
The Darkness is one of those characters that I feel like I know something about, even though I've never picked up a Darkness book. With all of the reading I do about comics, that happens to me all the time. When I found out there was a book about the character's origins, I decided it was something I needed to read. Though this is not normally my cup of tea in art style or in story, I'm glad I took the time to read it. Garth Ennis and Marc Silvestri have put together an epic origin story that is a good jumping on point for anyone who is curious about this indie icon.
For the uninitiated, here's the basic info you need to know about the Darkness: Jackie Estacado, on his 21st birthday, learns that he has inherited dark powers from his father. These powers allow him to do pretty much whatever he wants, as long as he gives in to the darkness that holds them. Jackie is a mob hitman and a playboy. His new powers help him with the first part. The second? Well, that's another story. The curse of having his new powers is that if he conceives a child, he will die, passing along the power to the child. Oh yeah, and there's Angelus--the light being determined to destroy the Darkness in the hopes of ruling with light, law and love (for her, of course).
About the only other Ennis I've read is his work on Punisher a few years ago, so this makes the second time that Ennis brought me to a character I wouldn't have otherwise had any interest in. He mixes gritty mob violence with supernatural violence and sometimes witty dialogue. (My favorite line was when someone describes the Darkness' power as "the Force on crack".) Reading this book, I got the impression that inheriting this power is actually going to make him a better person, which is saying a lot, considering he's essentially a demon. Lucky for us, he only makes bad things happen to bad people.
Silvestri is best known to me as one of the guys who helped start Image Comics, and for that I am eternally grateful to the guy. Though I didn't really read a lot of early Image, I am fully supportive of their current titles (I'm looking at you, Walking Dead, The Sword, the currently on hiatus Madman Atomic Comics). Silvestri's art has that '90s feel to me: a lot of lines, lots of girls in thongs and metallic looking bras, and lots of little monsters with sharp teeth. It's not a knock against the style at all. Silvestri is a great artist and very successful at what he does; it's just not my style. That being said, I think it works here. The Darkness got its start in the latter part of the '90s, so you get that same feeling from this book you might have back then.
This book was definitely something that should be on a required reading list for anyone interested in comics. If you're like me and it's not something you'd normally pick up, I encourage you to give it a try.
Stacey Rader
Review Editor
Read more...
Read More
Posts
