AICN COMICS!! GRAY HAVEN Returns!!

First Kiss Comics/My Date with Destiny

Written by Kevin Smith and illustrated by Joe Quesada and Danny Miki

Published by The New York Times

Reviewed by Andrew Goletz

Earlier in the year, during an interview with Erik Larsen, the creator suggested one way to get comics more in the eye of the mainstream would be to do something with newspapers. Though only coincidence, someone has jumped on a similar idea and created an original comic story for the New York Times. The paper, with a circulation of around 5 million, is doing more to show people what comics are like than any discount pricing, new comic lines or newsstand deals ever could.

Reuniting the hit Daredevil team of writer/filmmaker Kevin Smith and current Marvel Comics Editor in Chief Joe Quesada was probably one of the most rational and intelligent decisions ever made. Hell, even if this special insert to the Times does nothing to bring new readers into comics, the duo has at least created one of the best stories of the year in this tale about how Kevin Smith met his wife Jennifer and shared their first kiss.

Smith narrates the story, (with some guest commentary by Jennifer, trying to keep Kevin honest about the events) introducing readers to who he is and where he and his wife came from. Although they were born not too far from each other, Smith stayed close to his Jersey roots while his future bride took different detours on her life that seemed to indicate they would never get to meet. Eventually, Jennifer became a journalist at USA Today and, as fate would have it, one day was assigned to interview Smith. The rest of the story shows how the interview went and also how a chain of events led them to their first kiss.

This is a ‘slice of life’ story and it’s one of the best I’ve read in awhile. It’s funny and heart tugging at the same time. I’m huge fan of titles like Strangers in Paradise, Blue Monday, Confessions of a Cereal Eater, The Waiting Place and Breakfast After Noon, and was pleasantly surprised to find what Smith and Quesada had created here. It’s Smith’s personal story, well his and his wife’s, but Quesada and Miki pull out all the stops on their end, delivering a story that absolutely gorgeous to look at.

There are a lot of nice touches with this story. Notice how Kevin’s shirt always changes to reveal yet another advertisement for a Marvel Comic? And the idea of combing fashion advertising with the comic was something that worked out very well. This type of product placement could conceivably be used again as a form of advertising and revenue growth for other publishers. A lot of potential can be made from what occurred in the Times today. The question is, will anything come of it?

But again, that’s not the point. The point was, as always, to tell a good comic book story, and everyone involved with this project that. I hope that this story is collected and published by someone, only to give people out of New York and without Internet access a chance to read it. It’s a story that comes completely from the heart and has Kevin Smith and Joe Quesada doing some of their best work ever. Smith shows that he is much more than ‘dick and fart’ jokes or even super hero tales, and Quesada’s penciling gig shows tremendous growth in his already high quality artistic abilities. The unfortunate aspect of his job with Marvel is that he doesn’t have as much time to devote to a craft that he’s so gifted at, but we’ll take what we can get. Do yourselves a favor and check out the comic by following the link. Whether you’re a die-hard Kevin Smith or Joe Quesada fan or just want to read a good, old-fashioned quality story, you need to read it. And then email the Times and tell them what you thought.

Score: 10 out of 10

Click here to read the comic online!!

Gunwitch #2 (of 3)

Written by Dan Brereton and illustrated by Ted Naifeh

Published by Oni Press

Reviewed by Andrew Goletz

For those of you who aren’t familiar with the book, thus far, the Gunwitch has found himself knee deep in some territorial disputes in the town of Heliopolis. The problem here is that the dispute is between the undead Lady Goodnight and the vampire leader, Fang. Brereton and company continue their story with the Gunwitch having gained the trust and respect of Fang and his vampire gang, looking to see how many angles he can play.

No one can match Brereton’s unique style and ability to paint a picture of this dark world, but Naifeh comes close. His style is a perfect compliment to Brereton’s writing and his own artistic style. In a black and white ‘horror’ book, it’d be very easy for an artist to sink into the monotony of using heaving blacks and shades throughout. Naifeh actually does the opposite. The panels are well lit and clear and the artist uses shadows only when it counts, to emphasize something in particular. It makes the final effect look all the more thrilling. Since Gunwitch isn’t big on vocabulary, there’s the added difficulty of telling a story featuring a main character that doesn’t speak. It’s a tough job for both writer and artist, but they pull it all really well. Naifeh’s use of expressions and body language with the Gunwitch more than makes up for any lack of dialogue.

The two gangs have been battling and killing each other for control of the town, not taking into account the innocent victims that still popular Heliopolis. Fang takes a young girl, Clarissa, hostage to get what he wants from Lady Goodnight. He threatens to kill her, but after Lady Goodnight gives in, decides only to turn innocent Clarissa into a vampire. He’s going to have to get through Gunwitch to do so, though. Would the Gunwitch allow for an innocent to be harmed in pursuit of his goals or will he reveal himself, saving the girl but ruining his own plans? The decision that the Gunwitch makes sets the rest of the story in motion and picks up the pace of this book 10 fold. It’s one of the best moments in the book in the past couple of issues by the time the cliffhanger ending comes around, you’ll be wanting the 3rd chapter right away.

The only problem that I really have is that the story isn’t scary. It reads more like an action adventure than a dark thriller, but that’ll only matter to a few who care about such things. I’m interested in reading a good comic, regardless of genre, and this is a good comic. So it may not be a book for everyone, but it’s an entertaining story, with enough things going on to hold your interest.

Score: 8 out of 10

On Sale 8/29/01

Planetary #15

Written By Warren Ellis and illustrated by John Cassady and Laura Depuy

Published by Wildstorm/DC Comics

Reviewed by Brian Rubin

This comic is late!! At least I think it was late. I’m not sure what schedule the creative team of Planetary has been trying to keep up with, but so far, there’s been quite a bit of space between issues. Fortunately, since I re-read my comics so frequently, I pretty much know what’s going on. Whether or not this is a problem for you all depends on who you are. Obviously.

Anyway, I liked this issue. That said, it’s definitely not my favorite so far. The last issue, #14, was spectacular, leaving my eyes bugged out of my head and my brain juices flowing. This issue didn’t do so well. It was good though. Ellis has been doing a lot of high concept ideas in these stories, and has also been doing a lot of "fill in the gaps of Elijah’s memory" stuff. This issue doesn’t fill anything in, and I also feel like the high concept is sort of thrown together.

All the dialogue is spot on, and the story has started to progress. I suspect that the next issue (whenever it is that I might see it) will knock my socks off as far as plot development. So in terms of looking at the big picture, this issue is a nice, neat break from what has been a high speed, scratch your head, crazy ass comic. There isn’t too much freakiness to try and understand, and you get to see more of Elijah becoming the person he was before we knew him. (If that makes sense.) So, while the story’s good, it’s not as amazing as the other ones. But I have the feeling that as a whole story, this issue will work VERY well.

I have enjoyed John Cassady’s art very much so far in this book. I might even go as far as saying that he’s one of my new favorite artists. But there was something about this issue that left me a little confused. I think the part that gave me problems was when the Planetary team was approaching the mountain. The action sequence just seemed very jumbled. I wasn’t sure who was firing on who, and which guys were the bad guys. But I’m sure that’s nothing a second reading wouldn’t fix. Overall, Cassady’s art is still gorgeous. It’s just not as easy to follow as the last few issues have been. Although I must admit, drawing a helicopter chase seen with lasers, machine guns, and giant, walking old-man-mountains must be really fucking hard to draw. So I’ll let it slide. This time.

All in all, this issue is good. It works on its own, but can be pretty confusing if you don’t know much of Ellis’ work throughout the Wildstorm universe. References to Sliding Albion will be completely lost on newcomers. And if you’ve never read Planetary before, I wouldn’t completely recommend this issue. You’ll be safer off buying the trade paperback, or the first hardcover. They’re great. Just get’em. I think that the next issue of this series will be one of the best yet. It just has to get made.

Score: 8 out of 10

On Sale Now

100 Bullets #27

Written by Brian Azzarello and illustrated by Eduardo Risso

Published by DC/Vertigo

Reviewed by Rob Schamberger

Here's the setup: Someone whose life has gone to crap is given an attaché case containing a gun, 100 rounds of untraceable bullets, and proof of who caused the pain in their life. The man who does this, Agent Graves, is delivering the attaché to someone in a hospital when he runs into someone who had received the case many, many years ago. A very famous somebody.

This somebody was a famous baseball player whose wife had recently died from an apparent suicide. A very famous movie star wife. The baseball player is given the attaché that names the killer. A very famous politician who was having an affair with the very famous movie star wife. The rest went down in the history books. Or did it?

As a brief digression, I want to point out the fact that every week I find a comic that I view as one of the best things I have read in recent memory. The best comics ever made are being made right now. This issue clearly upholds my case.

Brian Azzarello is one of the most gifted writers in the comic book industry and he is honestly getting better with every story that he tells. He has taken the simple yet elegant setup of the attaché case and has twisted and turned with it than anyone could have ever pictured. This issue is one of those that comes out of left field. The simple twist of the plot, not just the twist of the ending, illustrate the sheer magnitude of Mr. Azzarello's skill, talent, and power.

Now, what could make a great story better? What could honestly make this a classic? Eduardo Risso. Mr. Risso is the best thing to happen to comics this century. Welcome to the new voice. Welcome to the new high water mark. As much as Mr. Azzarello has grown in his writing, Mr. Risso passed him and then lapped him. I have had a great joy out of watching this talented artist become one of the masters of the form. Patricia Mulvihill's subtle yet intelligent use of colors over the line art only makes for a truly great comic book reading experience.

How do I really feel about this seminal work? I feel that the boundaries of comic book storytelling just got blasted away. I feel that this is a book that raised the bar on what needs to be done for a comic book. As the latest installment of the title, this issue only raises the bar that much more. Drop whatever you're doing and read this comic book. 100 Bullets: Better than anything else you could possibly be doing.

Score: 10/10

Slow News Day #1

Written and illustrated by Andi Watson

Published by Slave Labor Graphics

Reviewed by Rob Schamberger

Normally, I wait until a series is over before I review it. This book tugged at me so much though, that I felt everyone should jump on board and enjoy it along with me. The story tells of Katharine Washington, an American interning with an English paper, under reporter Toby Finer. That's the plot. It was the theme that really got me. It deals with the cultural differences and similarities between America (Katharine) and England (Toby).

Andi Watson is one of those talents who only continues to improve and grow. Slow News Day is his latest, and from my gut instinct, best. His use of characterization through environment, conflict, and dialogue is truly phenomenal. Toby, the older experienced reporter, who has lived his best days, now simply watching his life go by, getting worse all the time. He vents his frustrations on his new intern, Katharine. Katharine, the young intern, going abroad and learning about the world to apply to her life and career interests. She simply wants to grow as a person, learning her craft from veteran Toby. Again remember the underlying theme, and whom the characters represent. All of this just in the first issue, as well.

Mr. Watson's art is simple, sleek, easy to follow, and with bulletproof composition. Any single panel would stand on its own, but together, with the story, it comes off as simply beautiful. Again, a talent that is only getting better and this is the latest installment.

This is a really great book and I recommend it highly to anyone that has not yet read it. Do yourself a favor and forget about the pay-per-view porno and instead spend the money on Slow News Day, as well as other Andi Watson greats like Skeleton Key (Slave Labor), Geisha, or Breakfast After Noon (both from Oni). Andi Watson: Better than paying for porn.

Score: 9/10

Tangled Web #5

Written by Peter Milligan and illustrated by Duncan Fegredo and Steve Buccellato

Published by Marvel Comics

Reviewed by Andrew Goletz

Tangled Web is one of my favorite comics on the stands. Every issue may not be perfect, but some of the enjoyment that comes with an issue of this series is reading Spider-Man stories told by creators who aren’t usually associated with super-heroes, let alone Spider-Man. We’ve had a decent story by Ennis and McCrea, a Rucka/Risso stand alone issue that’s sure to be nominated for an Eisner and now the team from Enigma (an excellent Vertigo mini-series), Peter Milligan and Duncan Fegredo come on board for a two part Rhino story.

The Rhino was never one of my favorite characters. He’s a dumb brute that has an impenetrable hide in the shape of a Rhino on his entire body. One of Spider-Man’s oldest adversaries, and frequent foe of the Incredible Hulk, the Rhino really never posed much of a challenge for Spider-Man, rendering the stories pretty boring. Milligan, who’s writing the excellent X-Force series now, makes this story works because he doesn’t play to the action, but rather concentrates on showing the human side of this character. For the first time, the Rhino’s become interesting. Not because Milligan has figured out some grand scheme in which the Rhino will take over the world as monotonous super villains tend to do, but because he’s focusing on how pitiful the character is.

Beginning with the Rhino’s rescue of a kidnapped girl for one of his employers, the Rhino quickly discovers that he just can’t win. There’s a moment where the Rhino sees the girl smiling, and he hopes that maybe, she’s thankful for the rescue. Maybe someone is finally happy to see him. But it’s not the case at all. Spider-Man’s just arrived and she’s smiling because she knows he’ll make things right. As he drops the girl off to his employer and tangles with Spider-Man, the Rhino thinks about how know one every smiles at seeing him, unless it’s to laugh. He has no one. And he realizes what a pity it is that the scientist who developed his ultra strong hide did nothing to toughen up his heart. To make matters worse, once he’s been captured, the Rhino is teased by prison officials. They show him a newspaper headline that refers to him as a horned dolt. There’s a very touching scene towards the end of the book where after escaping, the Rhino meets up with the girl he rescued. She makes things very clear to him, clearer than they’ve ever been before. And in this case, the truth really does hurt.

The art team does a very good job of making the Rhino look like a monster. In previous appearances the character looked like a guy in a Rhino costume. He was big, maybe even tough looking, but never frightening. Fegredo has given the Rhino a more exaggerated (or more realistic, depending on your point of view) look that makes him appear to be an even great threat. There’s also a scene where the horn on his head is finally used as a deadly weapon, proving for once that the character is as dangerous as once implied. His depiction of the character is realistic and unflattering, making complete sense.

Part one of this storyline ends in a very disturbing fashion. There’s nothing graphic shown, but what’s implied on the final page lets your imagination paint a pretty gruesome picture. The true intend of the Rhino also helps to make clear the title of the story, to which I had to let out a big, ‘duh’ for not making the connection to the book sooner. It’s another better than average showing for this title. Tangled Web is easily becoming one of the most enjoyable comics in the market and a title that not only lives up the hype, but one that will have you anticipating ‘what’s next’.

Score: 8.5 out of 10

On Sale Now

U.S. War Machine #1-4

Written by Chuck Austen and illustrated by Chuck Austen, Wild and Wooly Press and NIC Entertainment

Published by Marvel Comics / Max Comics

Reviewed by Drew Haverstock

Every once in a while, we here at Gray Haven get black and white previews of an upcoming series. (i.e. Alias a few weeks back) Today we were privy to US War Machine, the upcoming Max Comic. A relatively spoiler-free review is below.

Relentless. Invincible.

The core of these two words are what Jim Rhodes is going to have to generate, both physically and emotionally, from his rag-tag group of SHIELD black-ops. But I’m getting ahead of myself. In US War Machine, the wonder of the MU is once again removed to allow the reality of the situation Jim Rhodes finds himself in take precedent -- where racism still motivates the weak minded and the Government is never as on the level as you’d hope. This story is centered around Jim Rhodes, his removal from Stark Industries, and the future SHIELD can promise him.

Lots of neat twists are pushed forward as the story moves past issue #1, which serves only as a set-up for the next 3 quality issues. It should be noted that Austen’s pacing is a bit slow in comparison to some of the other new Marvel work I’ve read. While some love straight-ahead storytelling, (myself included), I have to say that the first issue seemed to flow in almost too linear of fashion. This habit is eliminated as Mr. Austen moves forward, with the ensuing installments throwing all sorts of interesting twists and turns in along the way. Of the four issues I was privy to, issues #2 and #3 hit hardest, with some stomach turning violence combined with a little social commentary along the way.

It was interesting to see how Tony Stark, Jim Rhodes, Happy Hogan, and Nick Fury were re-created for this book. (Take heart all you MU continuity freaks – all seemed to have their best aspects intact.) My favorite newbie was the 12 year old SHIELD engineer, who it seems has spent a good portion of his life aspiring to be just like Tony Stark. With the social skills of a doorknob, this guy could steal the series if his development continues.

In summary, know this: if you can get past the first issue, which is purely set-up and lacks the punch of those following, you won’t be disappointed. No, it’s not as good as Alias. What could be? But for Max Comics, the fledgling branch of Marvel’s new Mature Readers line, I think that Austen produces a nice, understated piece of work that gets better with every read.

Score: 8/10

On Sale September

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