Hey folks, Harry here with the latest round up of the newest set of reviews upon the latest release slate of comics to hit the market. Tons of good stuff here. I have to pick up the latest GREEN ARROW ish and Ennis' latest. Those are the key issues below that I need to check out, though I'll flip through Laird's TMNT 1 to see what I think. Here ya go....
AKIRA vol. 5
Written & Illustrated by Katsuhiro Otomo
Published by Dark Horse Comics
Reviewed by Aaron Blum (vroomsocko@hotmail.com)
There are many films that knocked me on my back when I saw them, only to have the books they were based on flip me over onto my face. Works that I read after seeing the movie version, i.e. High Fidelity, M*A*S*H, Die Hard, (Die Hard?) and Fight Club all had small nuances that gave the written work more depth, humor and detail than their celluloid counterparts. This is not to say that reading these books after seeing the film makes them any better or worse. In the case of all the movies mentioned above, reading the book helps to enhance the movie going experience.
Why am I bothering with all this? Because, AKIRA is the best example of this symbiotic relationship between a book, a film, and a reader/viewer. I had seen AKIRA the movie about two dozen times this time last year, and was just barely starting to understand it. Then Dark Horse began releasing the original Manga, and my understanding grew by leaps and bounds. AKIRA is a story about the dehumanizing effect of power. It's a story about the danger of unchecked power. It may very well be the best comic ever written.
Artistically, I have never seen anything like this before. Otomo has an eye for detail that rivals that of Geof Darrow. From the motorcycles to the rubble, every panel is a delight to look at. Every character stands out visually in some form or another. Every location has a distinct personality. It may very well be the best comic ever drawn.
This six volume series costs quite a pretty penny, but is well worth the price. No serious comic reader should be without them. No fan of the movie should be without them.
Why are you still sitting there, go buy this book!
Overall: 10/10
Ancient Joe #2
Written and illustrated by C. Scott Morse
Published by Dark Horse Comics
Reviewed by Dave (Cormorant) Farabee
Let's start with the premise, for those of you coming in late on this series. The setting is the backwoods of Cuba, and the hero of the piece is the enigmatic Ancient Joe himself. Joe's got a muscular, Popeye-esque physique, hands that are taped up like a boxer, and always wears a tribal mask that blocks out his features. He's not a superhero, but "folk hero" might be an appropriate term. He's a down-to-earth wanderer, good-hearted and possibly immortal. He's the kind of guy who can stop for a drink at a tavern without turning heads, but he's also rumored to have outwitted El Diablo himself (as chronicled in Morse's small press comic, Loud Cannoli), and this new miniseries from Dark Horse sets the stage for another supernatural adventure.
What appeals to me about Ancient Joe is that as offbeat as the premise is, and as cartoony as Morse's art is, the characters are actually grounded in a strange sort of realism. Dialogue in particular is a surprisingly naturalistic, as exemplified by this exchange from the first issue where Joe explains his dilemma to an aging friend over drinks in a bar:
Joe: "So it's possible, then? My wife's dead three months now. I'm worried she's in the wrong place, y'know? Ol' Man Alonzo said you of all people might be able to help. You an' me been through some crazy shit, but that was, what, fifteen years ago?"
Benny: "Man, I tol' you I can help, y'know? But I think you crazy man, Joe."
Joe: "Yeah, well, she's my wife, man. How can I not worry? It's cut an' dried."
Benny: "But she was a good lady, man, y'know? Not a.not a deviant lady. But good. Inside."
Joe: "This is just to make sure."
And there you have the basics: the mysterious Ancient Joe is afraid that his recently deceased wife might be in hell as a result of his dealings with El Diablo, and he needs an old buddy to help him learn the truth. The rest of the first issue was rounded out by Joe negotiating the very strange terms of Benny's assistance. Benny, it seems, has fond memories of watching Joe box with Ernest Hemingway back in the fifties (no joke), and wants nothing more than to try his own luck against Joe in the boxing ring. You can sample Morse's art and see the match in this Ancient Joe preview from Dark Horse's web site (just click on the cover): click here
This, in a somewhat longwinded way, brings us to issue two, where things get even weirder. This issue introduces Benny's eleven-year-old girl, Nina, who somehow holds the key to finding out whether Joe's wife is in hell or not. The dialogue between Benny and his daughter is surprisingly raw, but really about what you'd expect from a family growing up in a poor, backwoods tenement in Cuba. Still, there's something disturbing brewing beneath simple family squabbles, and before Joe is willing to commit to the enterprise, he aims to find out what it is. That's issue two, and in the third and final issue, I think we're finally going to get a glimpse of hell.
This is a compelling series. It has the feel of a modern-day folk tale in the same way that Edward Scissorhands felt like a modern-day fairy tale. Both break away from the traditions of classic European folklore, which I find to be a breath of fresh air. My only regret about Ancient Joe is that some of the language and concepts in the second issue push the comic out of the all-ages area.
Morse's cartooning strikes a balance somewhere between Jeff Smith and Frank Miller. There's an almost Disney-like quality to the character designs, and an energy to the figures that suggests animation, but Morse's art has a rougher, more abstract edge, and he darkens the tone a bit with his heavy blacks. His standard layout is four horizontal panels per page, and the repetition, like Dave Gibbons' nine-panel grid in Watchmen, gives the proceedings a controlled, cinematic feel. I liked Morse's art a little better a few years ago, when it was slightly less abstract, but I still find his style very appealing, and his brightly painted covers are among the most-eye catching cover designs I've seen of late.
Ancient Joe is one of those comics that too many people will miss, and I'm gonna want to smack them when they gripe one day that "there's nothing new and original in comics." Dang fools, it's right here! Check it out for some cool voodoo.
Overall: 9 out of 10
Green Arrow #10
Written by Kevin Smith and illustrated by Phil Hester
Published by DC Comics
Reviewed by Dave (Cormorant) Farabee
With issue #10, Kevin Smith's monster-hit revamp of Green Arrow draws to a close, and I've gotta say, it's been a fun ride. Got a little bumpy along the way, especially when Smith would saddle a character with inappropriate dialogue for the sake of some patented Kevin Smith humor, but ultimately I'm glad I stuck with it.
When last we saw our intrepid Green Arrow, things weren't looking so good (SPOILERS AHEAD REGARDING PREVIOUS ISSUES). He'd learned that the real Oliver Queen had truly died several years prior, and that he himself was actually a mystical recreation of Oliver based on his happiest years, an era represented by the Denny O'Neil/Neal Adams Green Arrow stories from the 70's. The explanation was a little convoluted, but I was impressed by Smith's imagination and was enjoying Ollie's radical/hipster persona enough to happily roll with it.
It was issue #9 that almost lost me though. That issue fully revealed the villain who'd been manipulating events, and while his identity was a jaw-dropper of a twist, some of the elements of his plan were so thoroughly distasteful that I almost felt I was reading Green Arrow from the Mike Grell years. Suggestions of torture and rape just didn't seem to fit in with the tone Smith had established so far. Considering his movies and even his work on Daredevil, maybe I should've expected him to indulge in a little shock value, but it remains a major sticking point for me regarding the series.
In the end, though, Smith's take on Green Arrow himself is just too damn readable and charismatic to turn away from. I'm really liking this character once again and I want him as a presence in the DC Universe. I want to see him beat the crap out of the bad guys, get his hipster quips in, and hopefully find some resolution to the existential problem of being a man split between Heaven and earth. In all those areas, Smith delivers. In particular, I think fans will be happy with the resolution to the split-Ollie problem (sounds like a medical condition). There's an element of deus ex machina to the story's resolution, but after a nerve-wracking battle that deftly blends physical action, character insight, and Ollie coming to terms with his son, Conner Hawke, I was inclined to give Smith a little leeway.
One thing that's never wavered during the course of the relaunch is Phil Hester's artwork. It suggests the animation-style of Bruce Timm wed with just a touch of realism. Combine his art with the vibrant coloring of Guy Major, who wisely matches it with flat planes of color in favor of airbrush-style blending, and you have what is easily one of DC's sharpest looking books. I'd cite Hester and Major alongside the artist/colorist team of Scott Kolins and James Sinclair on The Flash as representing some of the best, most unique art teams in superhero comics at the moment. Standard realistic computer coloring can become boring as all get-out, and it's nice to see some distinct styles emerging.
Final evaluation: a flawed but worthwhile project with great visuals, some neat ideas, and many, many memorable exchanges of dialogue. DC recently announced that the first ten issues will be collected in a snazzy 232-page hardcover in May of next year at the quite reasonable price of $24.99, with no softcover trade to appear any earlier than September. Yeah, Smith's bad habits annoy me a bit, but I'm gonna be sorely tempted buy that hardcover.
Overall: 8 out of 10
Outlaw Nation 16
Written by Jamie Delano and illustrated by Goran Parlov
Published by DC/Vertigo
Reviewed by Elliot Kane
Undoubtedly one of the strangest comics on the market, Outlaw Nation is the continuing - and extremely surreal - story of Story Johnson, 100 years old (though he only looks mid-thirties) writer whose family have all been blessed with an unnatural vitality and whose writings may or may not affect events in the real world...
Story himself is a genial ex-hippy who only really wants to be allowed to live and let live. He has no real designs on changing the world, or doing anything much really. But the world has other ideas...
Story's father, Asa Johnson, is doing his best to kick off a new world order by the simple expedient of creating chaos and instability throughout the current world order. He is confined to his sick bed, but his hand reaches out a long way.
Asa always gained inspiration from his son's writing, and currently holds hostage a number of people Story cares about - not least of which is Story's son from an old relationship. Asa has done a deal with Story - he will free a hostage for every story Story writes for him. Story himself finds writing to be totally addictive, and has been trying to give it up, but lives are depending on him, and he has no choice.
The characters in this story are all strange and offbeat, but they could almost be real: a single mother and her son, hounded by small town bigotry and paranoia and driven to almost become the monsters they are accused of being; a young woman in love with death who makes art out of roadkill; the evil and ruthless Asa and his nurse, the beautiful and intelligent Dolores, whose high morals seem strangely at odds with her low principles. These and many more all come across as totally real people.
In this issue, Story must write his latest tale in a few hours, or Asa will start killing people. Can he overcome his writer's block in time to do what needs to be done?
And even more importantly, how will what he writes affect the real world?
It has always been left a little unclear how much Story writes about things that have happened and how much he predicts - or causes - things that do happen. Certainly he takes his inspiration from his own life and the lives of those around him, and too often his stories blend into the real world in ways he does not expect...
Parlov's artwork is perfect for this series, capturing the characters distinctly and portraying their facial expressions to perfection. He has an excellent grasp of anatomy too, and if his backgrounds sometimes lack detail, this only adds emphasis to the characters in the foreground.
A very unusual title, and thoroughly recommended for anyone who enjoys taking a sideways look at the world...
Overall: 9 out of 10
Queen & Country #5
Written by Greg Rucka and illustrated by Brian Hurtt
Published by Oni Press
Reviewed by Dave (Cormorant) Farabee
Several months before the terrorist attacks of 9-11, Greg Rucka began writing a Queen & Country story centered around the Taliban regime, and much to Oni's credit, they've chosen to run it without change. It is, necessarily, set before the attacks on the World Trade Center and the Pentagon, but it retains the strong tone of realism the series has established and has all the makings of an emotionally resonant storyline.
For those who missed out on the four-issue story that launched Queen & Country, the series centers around a British intelligence agency known informally as "the Minders." It's straight-up espionage territory, with more in common with Tom Clancy and John Le Carre's work than Ian Flemming's. There's a strong cast of supporting players representing the multiple tiers of the agency, but the lead is a female agent named Tara Chace. Rucka hasn't invested her with a great deal of personality yet, taking the more low-key approach of slowly drawing her out through the plot, but we do know that she's smart, dedicated, and very effective in the field, as revealed in the first issue, in which she staged the successful assassination of a general in the Russian mob.
She's also not quite as tough as she'd like to think, and the particulars of that mission and its fallout took a psychological toll. As issue #5 opens, we see that Tara's taken to drinking heavily and has been assigned to undergo psychiatric evaluation to work through her demons. The scenes between Tara and her psychiatrist are some of the best in the book, with Tara clearly becoming agitated and defensive whenever the discussion starts hitting too close to home. There are a few nice moments of humor too, lest the whole affair become excessively downbeat.
Unfortunately, shrink or no shrink, Tara seems destined to confront disillusionment yet again. Three journalists, one of them an operative for the Minders, have been captured by the Taliban, and are likely to face execution in the immediate future. What's more, one of them may have a list of some eighty-six undercover agents, all of whom would be compromised and executed themselves should the list be discovered. Tara seriously wants in on the rescue operation, as much because of her hatred of the Taliban as her need to find solace in getting back to work, but of course, the total repression of women under Taliban rule is precisely why she'd stick out like a sore thumb on such a mission. Two less-experienced agents are thus assigned to the mission and Tara is left to drink and watch from afar.
In a text piece following the story, Rucka acknowledges that the Taliban's horrid treatment of women is what led him to write the story, and as the story unfolds through Tara's eyes over the next few issues, I think we're going to see a very personal indictment of their injustices. I'll also be curious to see whether Rucka finds a way to put Tara into the action, or whether he can tell the story he wants to with her as an observer.
The art, as with the first story arc, is adequate and professional but somewhat uninspired. It's also a little too cartoony given the strong tone of realism that runs throughout the title. It's not a constant problem, but I really think the book would benefit from the involvement of an artist on the order of Butch Guice, Gene Colan, or Rucka's previous collaborator, Steve Lieber. Queen & Country is so sharply-written that it's a shame the art doesn't have a little more pizzazz. So far, this book has done little visually to pull in the readers it deserves, but with new artists signing on for each new arc, hopefully this will change within the next few issues.
While I can't promise the book is gonna set the world on fire visually, I wholeheartedly recommend it to any comic reader looking for serious, smart espionage. This issue is an excellent jumping-on point, and you needn't have read the previous arc to enjoy it.
Overall: 8 out of 10
Scion 19
Written by Ron Marz and illustrated by Jim Cheung
Published by Crossgen Comics
Reviewed by Elliot Kane
At first glance, the world of Avalon appears to be composed of traditional medieval societies, but this veneer hides an ultra-advanced technology that has permitted the creation of genetically engineered people and creatures, energy swords, and many other wonders besides.
Divided by a great sea and a generations-old enmity, the Heron and Raven dynasties rule over their peoples with absolute authority. It would only have taken the smallest spark to ignite the conflagration of war once more. Our hero is prince Ethan of the Heron dynasty, who unwittingly provided the excuse the Ravens were seeking to start the war. An idealistic and somewhat naive young man in the beginning, he has grown in stature as the series progresses.
Now I really should address the unique selling point of this comic. With most series it is possible to review the story and the artwork separately, but with Scion the two are so intimately tied together that this is impossible. Jim Cheung is such a master of body language and facial expression that it is easy to tell what the characters are thinking and feeling. Ron Marz does not have to write dialogue to tell us that the Heron family is very close and loving, for example; it is made very clear in the artwork. Because of this, the dialogue never feels forced or unnatural, and the story flows. With no need for thought bubbles or needless exposition, Scion has a filmic quality that helps to make it one of the best comics on the market.
Recently, Ethan has been convinced by Raven princess Ashleigh that the war between their dynasties, while important, is really secondary compared to the appalling plight of the genetically engineered Lesser Races, who are used as slaves by the Ravens and servants by the Herons.
Ethan is devoted to his family, and torn between defending his homeland and helping the Lesser Races. Where lies the path of honour when the choice is between two rights? And Ashleigh... She is a Raven, so an enemy almost by definition, yet she is very intelligent, highly principled and utterly gorgeous. Their nations are at war. Her brother, Bron, killed Ethan's brother Artor while he lay helpless. Yet Bron wishes to kill Ashleigh too. She is as brave as Ethan himself, and at least as altruistic... But Ethan's family means a lot to him, and could they ever accept a Raven princess? Can he allow himself to follow his heart?
Recently Ethan decided that his first priority would be to help Ashleigh to free the Lesser Races, and in this issue he has the unenviable task of explaining that to his brother Kai and his sister Ylena.
This issue is massively important, both in terms of character development and moving the plot forward. Ethan's decision will most certainly have repercussions that will help to drive the plot for a long time.Even when they are arguing, the closeness between the Herons is obvious. Kai and Ylena are very protective of their younger sibling, and it hurts all three of them to be at odds with each other.
Kai and Ylena are fascinating characters in their own right, with their own personalities and viewpoints. I always get the impression that they could easily move up to main character status at need. If Scion has a problem, it is that there are so many good characters they cannot all get the attention they deserve. There is a particularly nice scene between Ylena and Ashleigh that seems to shed light on both characters and, perhaps, pave the way for a future friendship between them.
We also see more of Ashleigh's brothers, king Bron and prince Kort. Where the Herons are a very close and mutually trusting family, the Ravens are riddled with mutual dislike and suspicion. Up until now, Kort has shown little sign of being more than his brother's stooge, but in this issue he starts to show the glimmerings of a personality. Knowing Ron Marz, there will be far more to come...
All this, plus a pivotal fight and the introduction of a new character, too.
Overall: 9.5 out of 10
Teenage Mutant Ninja Turtles #1
Written by Peter Laird and illustrated by Jim Lawson with toning by Peter Laird
Published by Mirage Publishing
Reviewed by Dave (Cormorant) Farabee
Man, has the 80's nostalgia craze been hitting the comics world or what? We've got a new G.I.Joe comic, a new Transformers comic on the horizon, and now, a return to the comic that spawned a million parodies and launched one of the biggest marketing machines of its era: The Teenage Mutant Ninja Turtles.
If you remember the characters only as the Power Rangers or Pokemon of their era, you're probably cringing right now, but I'm willing to bet that more than a few people recall how the original black-and-white small press comic was actually quite entertaining and imaginative. Creators Kevin Eastman and Peter Laird were so obviously having fun doing whatever they wanted with that funky little hybrid of funny-animals and Frank Miller's ninja stuff on Daredevil, that it was hard to not get caught up in their enthusiasm.
This new series is definitely a throwback to that era. It's not what ya call sophisticated entertainment, but it's far closer to the original TMNT concept than the ultra-kiddie stuff that was filtered through the toys, cereals, and Saturday morning cartoons. It even *looks* old-school. The artist is Jim Lawson, who recently turned out some great Art Adams-style work on the unsung dinosaur comic, Paleo, but it's Peter Laird's gritty halftone work that'll really take fans back. At a glance, this looks like vintage Eastman and Laird work, circa the mid-80's.
The story itself is a mixed-bag. It's really just a reintroduction of the main characters and some of their allies, with a good old-fashioned street brawl thrown in to keep things jumpin', but the scattershot nature of it all disappointed me. Like the recent G.I.Joe relaunch, it presumes that it'll score easy points based on reader familiarity with the characters. And it does on some counts. The total geek in me was happy to see April O'Neil and Casey Jones, apparently happily married -- but "neat" moments like that do not a story make. Smacks a little too much of "remember when?", when they should really be trying to introduce these characters as if for the first time. If the series is gonna have legs, it can't rely on nostalgia for very long.
Interestingly, a throwaway line from one of the turtles ("Is it just me.or was this a lot easier fifteen years ago?") suggests that their lives have played out in real time since their creation in the mid-80's. Does that mean they should be the Twenty-Something Mutant Ninja Turtles by now? They wouldn't even have to change their TMNT acronym. The story doesn't indicate that the turtles have lost their fighting ability, but they do seem to have a little more trouble than usual dealing with common gang members. Of course, the gang-bangers are riding around on.snowmobiles!.and we all know how snowmobiles can give the enemy a vital edge in combat, heh-heh. It's funny because when I was reading the comic in the 80's, it seemed kind of gritty and rough, and now I'm enjoying the innocence of it all.
Other highlights include a sub-plot with one of the T.C.R.I. aliens from the old series (still housed in those cool Terminator-like exoskeletons), an appearance by the venerable rat-sensei, Splinter, and acres of the corny fighting dialogue that, again, has a certain innocent appeal ("S-Stand still, you alien freak!"). Brief scenes with characters I knew nothing about fell flat, but overall there was a definite feeling of hanging out with old friends, and that alone was worth my $2.95.
Will it ultimately make the grade or is it just another case of nostalgic self-indulgence? I'll need another issue or two to really judge it, but the little kid in me really hopes the series finds a focus and an audience. I want to see Triceratons again, dammit.
Score: 6 out of 10 (maybe 7 out of 10 if you're a former-fan)
Thunderbolts #59
Written by Fabian Nicieza and illustrated by Mark Bagley
Published by Marvel Comics
Reviewed by Aaron Blum (vroomsocko@hotmail.com)
Wow, a 'Nuff Said issue that works in the overall context of the title! A crazed Angar the Screamer on power overload is absorbing all the sound waves in Burton Canyon, Colorado. With the rest of the T-Bolts MIA, Songbird and SHIELD are on their own in trying to contain a Godzilla sized sonic being.
This is the only 'Nuff Said issue that has worked for me so far, partially due to the skill of Fabian Nicieza. In an era where most comic book writers are known for their stellar dialogue, Nicieza excels at action and character driven storytelling. While the story may go in any and all directions, the Thunderbolts themselves can be trusted to remain true to who they are. And judging by the final page of this issue, there are plenty of new directions for the T-Bolts to go. This is a title that has more twists to it than a scoliosis ridden backbone, and I'm loving every second of it.
The main reason the gimmick works here is not Nicieza alone, but his pairing with returning artist Mark Bagley. I've been a fan of these two since the early New Warriors days, and the two of them go together better than turkey and Thanksgiving. The names Nicieza and Bagley on any comic are a sign of quality.
There aren't many titles that get me excited month in and month out. Of those that do, Thunderbolts is at the top of the list.
Overall: 10/10
Ultimate Marvel Team-Up #10
Written by Brian Michael Bendis and illustrated byJohn Totleben
Published by Marvel Comics
Reviewed by Chaos McKenzie, golden_bullet@sympatico.ca
Two biases to keep in mind while reading this:
1. I do not like Brian Michael Bendis’ work right now, I think over exposure in any way is bad (be it character or creator)
2. I love anthology books, I fear sometimes that comic books are much too focused on continuities and story arcs. I am a huge fan of stories for story sake, that don_t make ripples.
This story made my skin crawl. And while I know horror comics of a classical feel such as this one will never be as popular as they once were, I found this episode of the Ultimate world to be a stunning tribute.
I held my breath on the page when Man-Thing makes his appearance.
Just took another, in memory. This story will stick out with some significance for it reveals the ultimate origin of one of Spider-Man’s older and more recognizable (I don_t read Spider-Man, and I recognized him) rogues. But beyond that we have what is an incredibly suspenseful story, paced to give you goose bumps and make you pause when something creeks in the closet. I give Bendis a lot of credit for putting money where his mouth is, and showing that he really is a versatile writer with an incredible range. He puts most big weight writers to shame, but I_m glad he does, because I had never thought about pitching an old-fashioned monster story until recently.
The art as well needs to be mentioned, but only to point out that this is JOHN TOTLEBEN’S doing what he does best. The cover grabbed me the fastest with its mix of classic style of Man-Thing in the background, and more digital looking Spidey and Lizard in the fore. Inside you get that detailed line work, that makes humans look a little off but gives monsters a level of depth and emotion that makes them look perfect.
Overall: 9/10
War Story: Nightingale
Written by Garth Ennis and illustrated by David Lloyd
Published by DC/Vertigo
Reviewed by Elliot Kane
This is the last of a series of short stories – all written by Garth Ennis - set in World War 2. They are not an easy read, dealing as they do with the mud and the blood and the sheer reality of it all, but they are all excellent stories.
And Nightingale is, without a shadow of a doubt, the best of them all. It is the story of HMS Nightingale, a Destroyer in the Royal Navy, but most of all it is a story about the courage and heroism of her crew.
The fact that this heroism is so understated – so matter of fact - makes it seem far more real than any amount of bombast or rhetoric. These are ordinary people, driven by a survivor's guilt to reach the heights of heroism - a heroism that, to them, seems quite natural. They do not see themselves as heroes; they are not hunting glory. They simply do what they feel to be right.
Garth Ennis' greatest talent has always been to highlight the humanity of his characters, but here he surpasses even his own normally high standards. The normal Ennis humour is totally absent, the story told in stark simplicity by a single narrator - an ordinary sailor who could be anyone. We are never even told his name, increasing the sense of identification. He is simply 'I' and thus represents the entire crew.
This is not a story that is suitable for children. It is a stark and searing tale of the true face of war at sea, of camaraderie and courage in adversity. It will put a lump in your throat and a tear in your eye, and be one of the best comics you've read all year.
David Lloyd's artwork carries the same stark and sombre tone as the story itself, and is thus perfect for it. He conveys a real sense of action and motion to the battle scenes, and a proper calm to the moments of peace. His ships and his aircraft are superb, all sleek danger and impenetrable steel - yet o so vulnerable when they are destroyed.
I never thought I'd give a straight 10, as there is always room for a story to be improved. I was wrong. Totally.
Overall: 10 out of 10
