Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
As promised, one metric assload of reviews, courtesy of Andrew and GrayHavenMagazine:
Blade of the Immortal #64: "Skin Part 1"
Written and illustrated by Hiroaki Samura
Published by Dark Horse Comics
Reviewed by Victor Destefano sohei7@aol.com
After a serious battle stemming from efforts to find the young girl, Rin, and to find away to get past the samurai guarding the gates out of Edo, Manji ended up in the company of an artist named Master Sori who he barely knows. Nearly all heeled up thanks to blood worms keeping him alive even after limb amputations and a sword blade through the head, Manji learns that he'll now be alone with the stranger's young daughter and another stranger who'll be coming shortly to look after Sori's place. Not something an outlaw swordsman with a bounty on his head wants to hear when he wakes up in the morning.
Nervous, and still not quite a hundred percent, Manji learns that the stranger who's to look over the house while Sori's gone has arrived and worse yet, he recognizes his voice. Manji draws his sword, opens the door to his room and charges out ready to cut the head off of the man he recognizes as an enemy he failed to kill in a battle fought in the not too distant past. Both men have swords drawn, ready to kill each other (not to mention the home they are both guests in) only to have the Master's daughter walk in to see what the noise is about. To save face and prevent the young girl from being alarmed, both men swing their swords in the air claiming to be, "Killing mosquitoes!" It's a scene that seems like something you'd see in a Jackie Chan movie that had a samurai twist. Suspense filled, and ending with something pretty damn humorous. Just one of the beauties of Hiroaki Samura's Blade of the Immortal.
While that took up a big part of this issue, a huge revelation was also learned at the end and we, the readers, may be witnessing the start of a pseudo friendship (or at least a partnership) between the two once rivaled kenshi (Swordsman). Something I find really interesting seeing how the stubborn Manji is finally starting to chill out just a little and think with a cool head. It's a really nice development in the story as well as the character.
While it's certainly not a flaw in my eyes, I think many might find the story paced rather slowly. One of the main obstacles in over a dozen issues now has been the question of how to safely get out of Edo. Something many writers might have tackled in two or three issues. But the slow pacing really pays off if character development and well-written dialogue is your thing.
From the dialogue between Manji and Master Sori or between Manji, the rival kenshi and Sori's daughter, Tatsubo, you can see that Samura (and translators Dana Lewis and Toren Smith) really knows his craft. Samura manages to catch any emotion, nervousness, cockiness or fear that characters in these situations would most likely have and perfectly matches it with well-timed cut ins to the next scene or well placed interruptions preventing something that seems like dragging on.
Samura's other perfected craft, the art work in this book, shines as bright as ever. His gritty, unrefined but beautiful style hasn't seemed to be anything but spectacular throughout each chapter of the story and this issue is no different.
Overall: 9 out of 10
Mike Mignola's B.P.R.D: Hollow Earth #1 of 3
Written by Mike Mignola, Christopher Golden & Tom Sniegoski and illustrated by Ryan Sook
Published by Dark Horse Comics
Reviewed by Victor Destefano sohei7@aol.com
B.P.R.D has finally done what needed to be done for a while now. It's shown us a better picture of the inner workings of the B.P.R.D (The Bureau for Paranormal Research and Defense) and gave us a closer look at the characters that are rarely the main focus in Mike Mignola's Hellboy books. And things are just getting started.
So far, this book looks like it's going to be an exploration of some of the already interesting characters built around another Hellboy-like situation, dozens of monks have mysteriously died in far off monastery who's inhabitants believe they are descendants of a pre-human super race. The fishlike man, Abe Sapian, is thinking about leaving the B.P.R.D due to the feeling that he's being exploited and is now pretty much alone and another member, Kate, is trying to talk him in to staying after being urged to do so by higher ups. While this is going on, a new member, Johann, a man who lost his body in a séance gone wrong who lives through a containment suit, has joined the organization. Also Elizabeth, the fire starter who left the organization, alerted Abe to the monastery's situation by suddenly appearing in his apartment as a fiery apparition, setting fire to the place and saying, "Abe, you have to come to get me."
While there seems to be no, or very little, Hellboy in this story, the existing cast, new members and new super natural story does everything it needs to make up for that. Matter of fact, this story is actually a much-needed breath of fresh air.
I love all the previous Hellboy books. They're one of my favorite comics, but as great as they are, there's very little different in each one. In every books, it's Hellboy and the B.P.R.D finding out about some strange happenings somewhere in the world, going to a castle to investigate, falling through a castle floor and then beating the crap out of ghosts, goblins, Nazis and monkeys. Again, nothing wrong with that, but this current story seems to be going in a different direction. Finally utilizing the great characters and unexplored elements about them.
As usual, Mike Mignola did an excellent job with the art in this story...oh wait, Mignola didn't do the art, Ryan Sook did. But, it looks EXACTLY like Mignola's work to the point where I didn't know he was the artist until I looked at the credits to write this review. Every single bit of it looks 100% Mignola and since Mike doesn't seem to mind, neither do I.
I think it takes someone with a Mingola-like style to do the artwork for any Hellboy related book, so Sook was a great choice. Not one single panel was off. Not one single opportunity to tell the story in the greatest manner was wasted. Also, the "simple," dark, Mignola style being used does an excellent job making the book feel more like a creepy, super natural story than some kind of sci-fi or action oriented comic. Great job all around.
Overall: 10 out of 10
Captain Britain Trade Paperback
Written by Alan Moore and illustrated by Alan Davis
Published by Marvel Comics
Reviewed by Kevin Mathews, kevin@powerofpop.com
With all the brouhaha surrounding this collection of Captain Britain stories circa the 1980s, it is difficult to assess the value of this trade paperback independently of the various behind-the-scenes difficulties that have attached themselves to the Moore-Davis Captain Britain run in the now defunct Daredevils anthology series.
In a nutshell, even though Marvel Comics own the Captain Britain character, by a quirk in the British copyright system, the stories and art belong to its creators viz. Alan Moore and Alan Davis. Thus, in strict legal terms, the permission of both creators is necessary before any reprints of the subject material can be published. This Moore withheld in the mid-80s, to the chagrin of Davis, due to Moore's problems with Marvel over Marvelman (which resulted in the demise of the excellent Warrior Magazine) and has colored Moore's relationship with Marvel ever since. However, the diplomatic skills of Joe Quesada (Marvel's current E-I-C), convinced Moore to give Marvel another chance, as long as Marvel honored the copyrights of Moore and Davis. Naturally, as is clearly evident from this collection, Marvel didn't! Although, to Quesada's immense credit, he took great pains to personally apologize to Moore subsequently.
So Moore and Davis are of course two of the most highly respected and acclaimed British comics creators in the industry. Jointly, they are responsible for some of the finest comics work ever in Marvelman (i.e. Miracleman), DR & Quinch and yes, Captain Britain. These stories, which showcase two masters in their creative infancy, provided a launch pad by which they would achieve later success in the mainstream US market.
That said, let me just throw in a few caveats to put things into their proper perspective.
First, these stories were originally in black-and-white and the coloring applied to the material can be jarring at times - maybe not as bad as the Eclipse Miracleman reprints perhaps but disconcerting nonetheless. Second, these stories were originally six pages long (it ran in an anthology remember?) and thus tend to read a tad jerkily with the obligatory exposition on every other first installment page slightly irritating. Third, the trade paperback begins in the middle of an existing storyline and without a helpful text piece to put the story in context, the experience can be mildly disorientating, if not rendering the entire plot incomprehensible.
Not only that, but it really takes Moore and Davis a few installments before they hit top gear but once they do, watch out! The piece de resistance is the Special Executive - a motley crew of mercenary paranormals who often make the Captain decidedly ordinary. What makes the Moore/Davis Captain Britain distinctive is that the concepts never rely on super-hero convention but instead 'borrow' freely from sci-fi/fantasy genres - it is intriguing to witness the use of the Arthurian Merlin myth juxtaposed with highly Moorcockian multiverse devices.
This freewheeling approach is ultimately what sets many British comic writers (of which Moore is the indisputable pioneer) apart, their influences are not confined to the usual comic book ones but derive inspiration of external sources as well. Captain Britain reflects, in many ways, the concerns and backgrounds of the gray Thatcherite Britain of the 1980s - with its manifestation of paranoia over government interference and the ever-present British fear of a police state. Captain Britain's upper crust heritage is put into sharp relief when his super-hero status renders him a social pariah but his assimilation of the dogged British self-belief (the bulldog mentality) is ultimately what saves him and his world - not to mention the deux ex machina irony of the powerful conclusion.
Warts and all, Captain Britain is still a wonder to behold, a solid piece of super-hero storytelling that has withstood the cruel test of time, despite itself. Its epic scope and intimate characterization is a testimony to the strengths of its creators and a beacon to all who would follow in its peerless path.
Overall: 7/10
The Establishment #5 - "The Man from Nowhere"
Written by Ian Edginton and illustrated by Charlie Adlard
Published by DC/Wildstorm
Reviewed by Michael Malcomb, m_malcomb@yahoo.com
I should preface this review by saying that I loved The Authority and will miss the break-neck pacing and cinematic style the book pioneered very much. However, I think I have found a suitable substitute with The Establishment.
This issue the team enjoys some well-deserved down time after a fast-paced four-issue story arc (actually four and one-half if you count the eight-page preview story in THE AUTHORITY #24). We get a chance to see the team members' distinct personalities, who they report to, and who sleeps with whom, while setting us up for the next story arc.
The British sanctioned covert team that keeps all the wild and world-threatening stuff away from the general populace has just finished saving civilization from the double threat of a Daemonite invasion and a planet-eating cancer but must now face the fall out of these events.
Their cover is blown and now the government decides to introduce them to the public as England's answer to The Authority. Just as a public ceremony for The Establishment is taking place to introduce the team to society, another potential threat arrives from space in the form of an astronaut who has not been seen for over 50 years.
This issue serves as a good jumping on point for those unfamiliar with the series. Edginton has a good ear for dialogue and uses an economy of words, allowing the reader to absorb the full effect of Adlard's pencils. Adlard also does a great job with facial expressions letting you know each character's emotions without reading the text.
I only wish that we could have learned a little more about these weird characters but I'm hopeful that more will be revealed about their powers and origins as the book progresses.
Overall: 7.5/10
Felon #3
Written by Greg Rucka and illustrated by Matthew Clark
Published by Image/Top Cow/Minotaur
Reviewed by Chaos McKenzie ( golden_bullet@sympatico.ca )
It's depressing to realize that I'm going to have to wait until the end of March to get the next issue of this comic, which is now my second favorite series of the year since the Ultimates bumped it down. I mean it can't really be that hard to create a shipping schedule and stick to it, but I guess I should count my blessings that this hasn't ended up being another Magdelena and up to a year's wait to know what's next.
In the latest issue of Felon, our anti-hero finally gets her revenge, and gets really nasty (it case you thought she'd been a little soft in the first two issues). The story has a few confusing moments that I'm not sure on due to some sloppier art this time around, Ray Snyder's inks are highly missed as they had really added to the art of this title. But Felon still has the best breast in the industry so I won't harp on the issue.
The story, thankfully, is still top notch. Rucka continues to create a character to hate, but you can't help but love (or maybe it's just me). I continue to be floored with the incredible way the pace plays out on this title like it's got two separate tracks. Next issue's preview hints to that addition of a good guy, so I guess they'd be the anti-villain and I can't wait to see where it takes the story.
Cheers
Overall: 8 out of 10
JSA #32
Written by David Goyer & Geoff Johns and Illustrated by Peter Snejbjerg
Published by DC Comics
Reviewed by Cormorant (dfarabee@ix.netcom.com)
For months, friends have been trying to get me to read this comic. I've been told time and again that it's the best team superhero book on the market, and reminded time and again that it's written by Geoff Johns, whose work on The Flash has made it one of my favorite monthly reads. My beef has always been that I just don't care much about the JSA. I figured there was a good reason these World War II heroes never went the distance that Batman, Superman, and Wonder Woman did - they're just not that interesting. James Robinson made 'em cool via retrofit personalities in his brilliant mini, The Golden Age, but I liked that as a one-shot, not the Bible for ongoing adventures fifty years after their heyday. Can't these old heroes rest in peace? And why would anyone want to catch up on them (and their sons, daughters, and protégés), after all the changes Crisis on Infinite Earths and Zero Hour put them through?
Alas, having taken in the most recent two issues of JSA as samplers, I'm grudgingly beginning to see the appeal. I didn't want to like these books, but the characterizations and team interplay really, really impressed me. The roster and back story of this book *is* somewhat convoluted, but Lord help me, I'm actually kind of looking forward to digging into some back issues and seeing what I've been missing.
So what's the story in the current issue? None to speak of actually. This is a pure downtime issue, dedicated to character interplay and acting as prologue for a new story arc. The issue opens with new team member Power Girl going through various tests, formalities, and paperwork before she can be officially admitted, and her introduction to the team also makes a good introduction for new readers like me. In particular, there's a terrific scene where Black Canary gives her a quick rundown on every member of team (which numbers close to a dozen). The descriptions are quick and biased, revealing the major personality points for the team and telling us a little bit about Black Canary in the process. Very clever, very helpful, and only slightly heavy-handed for being pure exposition.
As a newcomer to many of these characters, there's not much I can *specifically* analyze about them, but I did find all of their interactions interesting enough to make me want to know more. There are rivalries to be seen, a little bonding between team members, the mysterious return of Johnny Thunder, and perhaps most amusing of all, a brief debate over what fast food should be ordered for the next group meeting. Is it just me or is there something very endearing about seeing superheroes eating Chinese take-out? Ever since Grant Morrison revitalized the Justice League several years back, it seems that they've been DC's heavy-hitting, action-oriented team, so JSA looks to be the place to go when you want more in the way of character interplay and personality. The members of the JSA don't have their own books like Superman, Batman, and Wonder Woman do, so the writers have far more leeway to develop them than the big icons get in JLA.
The art is by Peter Snejbjerg, and while I couldn't pronounce his last name to save my life, I do consider him to be one of the unsung stalwarts of DC's artistic line-up. His drawing style is deceptively simple, being short on detail but possessed of a realistic feel nevertheless. I'm always impressed by artists who can create expressive faces with just a few lines and shadows, and Snejbjerg is one of them. He tends to use strong shadows in general, and since the tone of the book is slightly gritty, I'd say he's a perfect fit. The book's also just received a new cover design, cleverly evoking The Saturday Evening Post, so it's snappy visuals all around.
Having read only two issues of JSA, it'd be premature of me to give the series a wholehearted recommendation. Nevertheless, I'm getting really good vibes about it and suggest interested parties use this issue to sample the team as I have. I have to admit that it's a little scary to be enjoying a comic that Wizard magazine picked as "Best Comic of 2001", but there ya go.
Score: 8 out of 10
JLA #62:
Written by Joe Kelly and illustrated by Doug Mahnke
Published by DC Comics
Reviewed by Drew Haverstock, queguapo1@aol.com
Girls don't read comics.
We hear that all the time, yet Joe Kelly has decided to take DC's #1 big gun book and focus on the just that…the girl. I've never been a Wonder Woman fan. Spider-Man, Lone Wolf and Cub, Sin City, Transmetropolitan, etc…those are the types of titles that get me going. But Wonder Woman? Unless it involved Linda Carter in some ridiculously skimpy outfit running down badguys in my pre-pubescent days, I wasn't paying attention.
Which is why I love Joe Kelly. He makes you care.
In this issue we're tossed into the mind of Amazon, getting under her skin and finding out what makes her tick. The creative team doesn't try and accomplish this through panel after panel of talking heads, rather they let her actions speak loudest - and the words she does choose to use have that much more impact. Like Cap and his shield, we also learn how much her "Golden Perfect" is truly an extension of her.
Mahnke's artwork is solid, as the story moves from the watchtower to the world of Jarhanpur, to the minds of the leaguers, giving each scenario a life of it's own. I love the fact that, unlike many other mainstream artists, his body types and facial expressions differ from character to character. And, as a team, they make Plastic Man instantly slimy and likeable at the same time.
Overall, I'm truly excited for this new team on JLA. Their fist issue was solid, but here we get their first true arc. If things keep up, people will utter their names with the same regard previous creators earned while carrying the reigns of this title.
Overall: 8.5 out of 10
Legion #4
Written by Dan Abnett & Andy Lanning and illustrated by Olivier Copiel & Andy Lanning
Published by DC Comics
Reviewed by Kevin Mathews, kevin@powerofpop.com
The fact that the Legion features literally dozens of super-heroes can either be an asset or a liability in the hands of any creative team. Writers Abnett & Lanning brought this title back to its basics - splitting the team apart and building it up back again brick by brick. In the process they have challenged the very concept of the series - naive teenage heroes protecting a utopian future - by tearing out its guts and sorting out the wheat from the chaff (don't you just love mixed metaphors?).
Drama and tension are the ingredients of a good story dynamic and this new Legion series has it in spades. Well, the 31st Century has turned out to be a dystopian hellhole and the emergence of Batman villain Ra's Al Ghul as the mastermind behind the United Planet's ills has certainly spiced up the buffet. The Legion whilst not as naive as they used to be, still seem a step or two behind Ra's Al Ghul's machinations and appear to be on the losing end from all angles.
There are a few concurrent plotlines running here and Abnett & Lanning do a bang-up job in keeping the momentum and equilibrium at a fairly acceptable pace. For Legion fans, the key plot point here is the return of the teleporting Legionnaire Gates (which for all you trivia buffs out there would probably have been Nightcrawler if artist Dave Cockrum didn't jump ship to Marvel in the 1970s) and the discovery of a Nazi-type experimentation on the inhabitants of Gate's home planet. That, and the various other Legionnaires' dire predicaments at the close of this issue make for intense drama indeed!
That said, I cannot ignore the nagging suspicion that the writers are risking cliffhanger overkill with the rather contrived ending - just how many times will we see the Legionnaires blown up?!
I suppose that's just the curse of these damn 22-page pamphlets, eh?
Overall: 7 out of 10
Lucifer #22
Written by Mike Carey and illustrated by Peter Gross
Published by DC/Vertigo
Reviewed by Elliot Kane
A full description of the world of Lucifer and its inhabitants can be found in my review of Lucifer #21 here: http://www.newcomicreviews.com/dc/Vertigo/Lucifer/21/ek21.txt
Definitely not new-reader friendly, this issue features a number of characters who have not been seen in the pages for Lucifer for a while. Some explanation would have been good, although long time readers will surely remember who everyone is and just enjoy the story.
Which is definitely very good. Lucifer has never needed anyone, and always remained in thorough control of events around him, but his enemies are gathering in both strength and number, and for once he seems to be unprepared.
Pride has always been Lucifer's great strength, but will it now prove his downfall also? If you alienate your allies and refuse all offers of friendship, who is left to watch your back when it all goes wrong?
And why do Lucifer's enemies desire the death of Elaine Belloc, thirteen-year-old archangel? What future part has she to play - assuming she survives?
Mike Carey's writing has always been exceptional on this title, and remains so. All the threads from the first couple of years of stories are being drawn together for a grand finale of epic proportions, and I am thoroughly enjoying every moment.
Peter Gross' grasp of the weird and wonderful world that Lucifer inhabits is exceptional also. His art is very well suited to the title, both stylistically and in terms of his imaginative renditions of some truly unearthly creatures.
A thoroughly good read all round.
Overall: 9 out of 10
Meridian #20
Written by Barbara Kesel and illustrated by Steve McNiven
Published by Crossgen
Reviewed by Elliot Kane
On the world of Demetria, the surface of the planet has suffered a total ecological meltdown, and as a result is virtually uninhabitable. What few villages remain on the surface are constantly having to be rebuilt as they rapidly decay due to the corrosive nature of the planetary surface.
Fortunately for the humans of Demetria, the sky is full of floating islands that are kept aloft by a strangely buoyant ore created in the disaster that otherwise wrecked the planet.
Each island is an independent nation, trading with all others and with the few remaining surface settlements via sky ships. Each island is ruled by a Minister who looks out for its interests and negotiates with the other islands wherever possible.
The balance of power was very fragile on Demetria, and now it has been tipped right the way over.
The mysterious 'Giver Of Sigils' of the CG universe saw the Ministers of the islands of Meridian and Cadador - brothers - arguing over the best way to build the future of their world, and decided that they would make a perfect 'Hawk And Dove' combination.
Both were empowered, but all did not go according to plan... The Minister of Meridian had a bad heart, and the shock of receiving the Sigil proved too much for him. He died, and his Sigil passed on to Sephie, his 14-year-old daughter...
Minister Ilahn of Cadador wishes to conquer his world and order it to his liking. He is cold, calculating and cruel, and his Sigil gives him the power of death. By controlling the skyways he forces the obedience of sky islands and surface folk alike.
Only Sephie, now Minister of Meridian, has the power to oppose him. Hers is the power of life, and though her island be conquered and her people scattered, she nonetheless continues to work to unite the peoples of Demetria in peaceful co-operation - which means putting a stop to her uncle's depredations once and for all...
This issue mainly deals with the events seen in Sigil #20 - where Samandahl Rey visits Demetria - from Sephie's perspective. For my review of that issue go to: http://www.newcomicreviews.com/other/CrossGen/Sigil/20/ek20.html
It is not necessary to have read that issue, although comparing the viewpoints of the two characters is fun. Sigil fans will miss nothing by not reading this issue of Meridian.
For Meridian fans it is interesting to see Sephie's thoughts on the nature of war and how her power makes her aware of the life force in all things. Sephie is a young woman of firm principles and she sticks to them even when the going is tough. The true mark of a heroine, whatever her age...
Steve McNiven's artwork is very good, and his characters actually look the age they are supposed to be, which is a true rarity in comics. Sephie actually looks like a teenaged girl, and Ilahn is obviously an older man - in his late forties or fifties.
Overall, Meridian is a good solid read, which, although aimed primarily at female readers, can be enjoyed by everyone.
Overall: 8.5 out of 10
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