Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Wow... they just keep coming!!
Raptors Vol. III
Written by Jean Dufaux and illustrated by Enrico Marini
Published by NBM
Reviewed by Kevin Mathews, kevin@powerofpop.com
Imagine a world where vampires rule, where humans are an underclass on the verge of extinction. Where vampires have abandoned the anonymity of the night to take their place as dominant species in the world. That is the premise of Raptors, the brainchild of Belgian writer Dufaux and Swiss Italian artist Marini.
The first two volumes established that when vampires took the decision to come out of the shadows in feudal Spain, one of their kind viz. Don Molina demurred and he and his family were destroyed for their resistance. However, two of his offspring, Drago and Camilla, survived, grew up and now challenge the dominance of this old world order with destruction and the promise that 'your kingdom is doomed.' The duo's trail of destruction is investigated by New York inspectors Lenore and Spiaggi, the former is an impossibly beautiful woman who is slowly seduced and sucked into the maelstrom of horror, violence, death and sex that is the world of the Molinas.
In Volume III, the true nature of college student Aznar Akeba is revealed and his fate is inextricably linked to that of our viscous avengers. In the meantime, Lenore is drawn deeper and deeper into the Molina's side. As the volume ends with a cliffhanger of sorts, as Aznar is presented with a life-changing choice, Volume IV cannot be far behind.
Like many European comics, Raptors contains enough violent action, titillating sex, artistic flair and genre narrative that would shame most American mainstream comics. It is an adult comic in the correct sense of the word, in that it is primed for a mature audience - one that fully appreciates the full implications of vampiric lore. Thus the sex is not purely gratuitous eye candy (although it certainly fulfils that function) but an extension of the nature of the beast that calls itself vampire.
Marini is the star of the book. His art is typically Euro-centric in presentation but also benefits from a distinctly American dynamic. Painting over his own rough sketches, his clarity of line and the authority of color are a wonder to behold. The lead characters are impossibly idealized figures but appropriate in this kind of genre fantasy. Highly entertaining with a strong plot, Raptors deserves the attention of the slavish fans of Buffy the Vampire Slayer and Vampirella and anyone who enjoys horror-based action with an erotic twist.
Overall: 8 out of 10
Ruse #4
Written by Mark Waid and illustrated by Butch Guice
Published by Crossgen
Reviewed by Elliot Kane
A full description of the world of Ruse and its inhabitants can be found in my review of Ruse #3 here:
http://www.newcomicreviews.com/other/CrossGen/Ruse/3/ek3.txt
Simon has been framed for murder, and Miranda Cross has placed the rulers of the city of Partington under her hypnotic control.
Pursued by the police and with all his former allies turned against him, can Simon and his assistant Emma Bishop somehow turn defeat into victory? Can they elude the forces of law and order long enough to do so?
And can Emma possibly defeat a woman whose sorcerous power far exceeds her own?
The outcome of the whole affair may well depend on how far Emma can learn to have faith in Simon - and how much he can afford to trust her...
The writing in Ruse is always outstanding, and this time is certainly no exception. Mark Waid has written some excellent stories for other companies in the past, but his work on Ruse is, in my opinion, his finest to date. Waid seems to have tapped in to a rich vein of imagination that almost forces the reader to think of his characters as real people. A very rare achievement indeed...
Not that Butch Guice's artwork has no part to play in that... Guice has to be one of the best artists in the business right now, and his characters almost live and breathe on the page.
Between Waid, Guice and the rest of the Ruse team, CrossGen have created one of the very few 'must read' comics on the market right now. Anyone who enjoys good storytelling should give Ruse a try.
Overall: 9 out of 10
Scion #20
Written by Ron Marz and illustrated by Jim Cheung
Published by Crossgen
Reviewed by Elliot Kane
A full description of the world of Scion and its inhabitants can be found in my review of Scion #19 here:
http://www.newcomicreviews.com/other/CrossGen/Scion/19/ek19.txt
In this issue, the war weary Heron forces press forward deeper into Raven lands, as Kai and Ylena try to prevent the Ravens from regrouping and bringing the full weight of their armies to bear against them. Time is the true enemy, and it will be hard to overcome.
Raven King Bron is raising an army, his fiery oratory lending strength and passion to his forces as they prepare to move out against the Herons. There is a real sense that events are moving towards a titanic confrontation that may well decide the outcome of the war.
Meanwhile, Ethan and Ashleigh move closer to their own goal of finding a new haven for the Lesser Races, and closer to each other too. We get a really good insight into Ethan's thinking from a letter he writes to his parents, to be delivered in the event of his death.
Ron Marz seems to somehow be able to juggle a large cast of characters and events so that each gets the time it needs to develop without feeling rushed or forced. Ethan and Ashleigh's growing relationship is the best example of this, developing as it does in a very natural way.
Jim Cheung's pencils seem to get better with every issue he draws, and this is no exception. There are some underwater scenes that are truly awesome in their almost cinematic detail, and his grasp of facial expression and body language is the best in the industry.
Overall: 9.5 out of 10
Spider-Man's Tangled Web #10
Written and illustrated by Kaare Andrews
Published by Marvel Comics
Reviewed by Michael Malcomb, m_malcomb@yahoo.com
I used to think that the last thing Marvel needed was another Spider-Man book. A couple of years ago the stands were saturated with nothing but Spidey-related books like Web of Spider-Man, Scarlet Spider, Venom, and Aunt May's Kinky Adventures to name a few. They stretched the character too thin to satisfy the market and as a result all the stories ended up being crap. Then Marvel finally got their heads out their asses and decided to cut back on all the chaff in order to concentrate on the core titles: Amazing Spider-Man and Peter Parker.
When they released Ultimate Spider-Man I was a bit skeptical, but Brian Michael Bendis and Mark Bagley proved me wrong with a fresh spin on a worn-out character and eye-popping visuals. Then the Tangled Web series premiered and I thought Marvel was about to fall into the same old trap. I'm pleased to announce that I was wrong.
By enlisting diverse talent (I never would have thought Garth Ennis and Steve Dillon could do a great Spider-Man story. Punisher, yeah…but Spider-Man???), the series, which focuses on the lives of those whom Spidey affects, is a consistently good read.
Already up to issue #10 and the book is still going strong. This issue focuses on two kids watching cartoons in the comfort of their home when-BOOM!!!-Spider-Man comes crashing through the wall and he's getting the crap kicked out of him by Electro. What would you do-run and hide or help your friendly neighborhood hero?
The illustrations by Andrews are simply astounding. If the story wasn't good, then the artwork alone would be worth the price of the book. But the story is good, and together the visuals and words combine to create a realistic tale of true homo-sapien heroism.
With Spidey-mania increasing steadily as the movie premiere gets closer, I only hope Marvel can keep Spidey's exposure under control and keep churning out great stories instead of crap.
Overall: 8 out of 10
Spider-Man's Tangled Web #10
Written and illustrated by Kaare Andrews
Published by Marvel Comics
Reviewed by Drew Haverstock, queguapo1@aol.com
Tangled Web is such a good series for Spider-Man fans to have. This month we're treated to the fine storytelling of Kaare Andrews, best known up to this point for his beautiful cover-work on various titles in the MU.
This issue Kaare takes a look at heroes in general. What makes 'em, and why we need them. With a simple starting point of two kids struggling to find their way in a single parent home, the characters take on a life of their own as the story progresses. The nod to the original Spider-Man television series was a nice touch throughout the book, and the over the top one liners tossed throughout made me laugh out loud at times. Great stuff.
The real treat is Kaare's artwork though. With his digital painted style, this book jumps out at you on many pages, even with the very dark coloring used. (Speaking of that, I'm sure many out there will love the return of Electro, especially in the manner in which he appears - glorious yellow and green, with bolts coming off of his facemask.)
Overall, this issue is a delight to behold and continues Axel Alonso's amazing run of finding phenomenal creators to work on this wonderful title. Keep up the good work, fellas.
Overall: 9 out of 10
Transmetropolitan: Gouge Away TPB (issues #31-36)
Written by Warren Ellis and Illustrated by Darick Robertson
Published by DC/Vertigo
Reviewed by Aaron "Vroom Socko" Button (vroomsocko@hotmail.com)
"I'm nobody's fucking cartoon."
-Spider Jerusalem
When it comes to Transmetropolitan, I am a TPB Hound. There's just something about having the content of six issues together in one volume without any ads that just makes Transmet a better read. Sure, I'm a little over a year behind everyone who picks up the monthly, but that's the price I'm willing to pay.
Reading Transmet in this fashion makes the multi-part storylines easier to read, but my favorite parts are the stand-alone chapters. Another Cold Morning from Lust For Life, and Here To Go from Lonely City are two of my all time favorite Spider stories. Here, the story Nobody Loves Me is a major standout. This chapter is essentially a jab at the fans of Transmet. Actually, it's more a jab at the fans that read the book for laughs only, buy Spider action figures, and wear Spider Shades in public. I, of course, read Transmet for the satire, even if I wear Spider Shades in public.
This volume has a little bit of everything in it. Spider's war on The President builds in intensity, Royce suffers the way only an editor should suffer (just kidding Andrew,) and the Filthy Assistants spend the day out on the town. However, the essence of this volume is Spider's developing need to be taken seriously. He's a popular figure in The City, but not as a journalist. He's a joke, a mascot, a cartoon character. The quote that I opened with sums up how Spider reacts to that attitude, in fact sums up this entire volume.
Transmetropolitan is probably the best work to come from both Warren Ellis. It's definitely the best work Darick Robertson's done so far. When friends ask to borrow a comic from me, nine times out of ten it's a Transmet volume. That says more about the quality of this story than I can. Or maybe it says more about my friends…
Overall: 10 out of 10
The Ultimates #1
Written by Mark Millar and Illustrated by Bryan Hitch
Published by Marvel Comics
Reviewed by Aaron "Vroom Socko" Button
Let me just get this out of the way first; I am not a big fan of Mark Millar, I am one of apparently seven comic readers in the world who doesn't enjoy The Authority, and I really don't think that an Authority-style team of Avengers is a good idea. The early glimpses of artwork I saw didn't help either. Iron Man looks too much like a Gundam, and Thor's grin makes him seem like he's a cast member of Saved By The Bell. Yes, I am prejudiced against this title, but here's the real kicker.
Issue number one is really, really good.
Set almost entirely during the latter days of World War II, the story features an Allied attack on a Nazi stronghold hiding a secret doomsday weapon. To the majority of the U.S. troops, Captain America is just a propaganda tool, a walking recruitment board. Of course, this opinion changes drastically once they see him in action.
And what action! Bryan Hitch excels at wall-to-wall action scenes, but this issue just might be his best. From the opening pages of paratroopers getting ready to jump into combat to the image of Cap jumping headlong into combat, this is a visual treat from cover to cover.
Will I continue to read this book? I'm not sure. But if this level of excitement is maintained, I might just become an Ultimates fan after all.
Overall: 8 out of 10
The Ultimates #1
Written by Mark Millar and illustrated by Bryan Hitch
Published by Marvel Comics
Reviewed by Daniel Berg, Moveekid@aol.com
It seems to me that the Ultimate Marvel books have been love-it or hate-it for many fans. (For me, thus far, it has been mostly love it.) Ultimate Spider-Man has been genius since the start, Ultimate X-Men has been pretty brilliant in spots itself, and while Ultimate Marvel Team-Up was a bit of a disappointment, it's evolved into a pretty complex little book.
Which brings us to The Ultimates, a brand new Ultimate Marvel series based on the classic Avengers series. There are only two characters that appear prominently in the first issue of The Ultimates. The first is classic dead boy Bucky Barnes who has been a part of comic lore for decades. Second, is Steve Rogers (or Captain America) who appears in a cheesy outfit that highlights his abs of steel to the max. Also in this issue, we get a glimpse of the man who will become Ultimate Iron Man. Tony Stark makes a brief appearance at the end. This makes me wonder. How come on the cover of the comic, Ultimate Iron Man looks nothing like he did in Ultimate Marvel Team-Up #'s 4 through 5. You see? The Ultimate books are already jamming up the continuity, Classic Marvel style.
As for the story, it's mostly Brian Hitch's issue. There's a lot of pretty art in there but not enough room for the story that Mark Millar's trying to set up. There are only three scenes in the issue. One, Bucky on a plane. Two, Bucky on land. Three, Stark on Everest. We get a small notion that Tony Stark is going to bring the Ultimates concept to a forefront in issue two. I just think we should have gotten there already.
Overall: 7.5 out of 10
The Ultimates #1
Written by Mark Millar and illustrated by Bryan Hitch
Published by Marvel Comics
Reviewed by Chaos McKenzie ( golden_bullet@sympatico.ca )
You know the best thing that the Ultimate line has done for Marvel Comics it's birthed new love for characters that some readers may never have even gone near before. I mean I'm Canadian for one, so Captain America has already been a big "who cares" in my life, and to this day I don't think I've ever really cherished an Avengers tale outside of Rogue's first appearance in Annual 10. But with the Ultimates I've discovered a hidden part of myself wanting to run around in my red, white, and blue pajamas and scream liberty (or whatever it is you patriotic folk yell about).
The Ultimates is off to a great start, so great it's probably my favorite comic of 2002. The first issue is a pure set up issue, flashing back to a Saving Private Ryan style WWII, and introducing us to a Captain America that seems far more real, and far more heroic than the stuffy guy in the regular universe.
What really blows this book out of the water is the incredible artwork from Bryan Hitch. It's amazing to think that pathetic works like DK2 are considered the best our industry has to offer, and true artisans with some incredible talent are creating books like this. The colors are dark, but the pencils were clear and the book was stunning, absolutely stunning. My only annoyance was the rain seemed a tad surreal as it started on the top of the page and fell straight through the all the panels without distraction, but I don't know if it's something everyone will pick up on or just a few here and there.
The book ends with a great tease, and I really can't wait for more. It seems the concept with The Ultimates is a little more developed and fleshed out than the Ultimate X-Men were, and I'm hoping that Millar will be able to continue the pace with The Ultimates all the way through, without fluttering off at all.
Cheers
Overall: 10 out of 10
Ultimate Marvel Team Up #12 "Spider-Man and Doctor Strange"
Written by Brian Michael Bendis and illustrated by Ted McKeever
Published by Marvel Comics
Reviewed by Chaos McKenzie ( golden_bullet@sympatico.ca )
Ultimate Team Up is vastly my favorite of the Ultimate titles, I love anthologies and I love seeing characters twisted up in my face, over and over again. It's a real blast, looking back on the last year's worth of issues, I think only the sappy tone of teenage angst from the X-Men team up was a disappointment to me. But this issue made me realize something else, as we begin to go deeper into the Marvel Universe, introducing characters who are a little less the figure heads that other characters are, I wish I knew more about the Marvel Universe so that I could enjoy the revamps more. I know probably nothing about Dr. Strange except for the most basics of basics, so I wasn't sure where his introduction into the Ultimate Universe was creative or simple backwash.
But what I did discover is that Dr. Strange can be sooo cool. I found the retelling of his mythology in the style of an urban legend was compelling (hmmm, too serious a word there but replacements escape me) and really cool. I have to wonder why this guy can't seem to hack out his own book in the regular Marvel world, but I guess that's where Bendis revamp gets it's credit.
The artwork was a real treat for me I'm a huge fan of surreal artwork, and with things like spandex clad super dudes and mystic masters of whatever a little surreal artwork never hurt anyone. I mean the realm of comics is the unreal, and I like seeing the ultra realistic artwork as much as anyone (ref: the Ultimates #1 kicks @$$) but it's good to just through perspective out the window and let your imagination go nuts.
Special round of applause go to the old Batman television series, "climbing up the wall" gag, that Bendis pays a nice tribute to here with Spider-Man.
Cheers
Overall: 9 out of 10
Uncanny X-Men Annual 2001
Written by Joe Casey and illustrated by Ashley Wood
Reviewed by Chaos McKenzie (golden_bullet@sympatico.ca)
This has to be the best thing Joe Casey has written since he took over the X banner. I'm not completely against the directions Casey has been taking the Uncanny ones in their regular series, but this annual is by far a superior story line compared to his other arcs.
It's a scary thought, as exciting as it is.
In this one issue, we have the ultimate of forgotten villain revamps, an incredible play on modern drug culture, some of the best character driven dialogue, and potential for a much wider story. Presented in the only twice before used "Marvel Scope" format, this story plays out like a feature film with over the top characters used in real world scenarios that make it all seem too close to home.
Many of you might have noticed, that I avoid recapping the story in my reviews. My argument for this is that I prefer to tell you how the story made me feel and why you should try it out rather than rehash the details. But to avoid the confusion of my next sentence… it's about drugs, and the silly way people seem to think they're oblivious to the harm of them. I love that Casey doesn't hide behind anything in this story; you can feel the varying degrees of opinion the characters have on the subject and it makes the story glide. My only complaint with the story maybe the tired cliché of the "big bad rave", but I guess that is one subculture that still has a while to go before it gains any legitimate ground in popular culture.
Story aside, I've got to say I'm a big fan of Wood's artistic talent, but I'm not sure how I felt about it here. He has that gritty artistic sense that I've always associated with Bill (oh good lord, how do you spell his name?) SSELECTED , but I found some of his depictions were difficult to identify. I also felt that he really missed a few opportunities to let loose with the different format, but that's just me being picky. It was very cool to see X-Men done in an art style often considered too avante guard for a regular super hero book, I would like to see more of the X books take that kind of initiative.
Cheers.
Overall: 8 out of 10
X-Men: Evolution #3
Written by Devin Grayson and illustrated by Udon Studios
Published by Marvel Comics
Reviewed by Chaos McKenzie ( golden_bullet@sympatico.ca )
I'm not a big fan of the X-men: Evolution the cartoon series, there's something about the pace and the voices that seem to annoy me more than thrill. But the comic spin off seems to be pushing all the right buttons. So far in this series I've been shown stories that I've always felt were never explored enough in the X-Men mythos, and that for me is the struggle for those first moments of control with a new mutant and their powers. I mean too often does a new mutant emerge with a terrible "first contact" type of moment, that is easily discarded by the next issue as the new mutant seems blessed with at least a working knowledge of their powers.
In "Hearing Things" we get the story of Jean Gray's coming out, as it were, as a mutant. A story that was never shown in the cartoon, and really never detailed in the regular universe except for Joe Casey's exceptional Children of the Atom series. This issue is great fun, as we watch Jean struggle with a sea of voices and thoughts storming through her head. Sure, it's not going to be an epic story arch as she explores the first stages of learning control, but it's still a fun situation that I think many fans of the "X" would enjoy. I salute Grayson for so having told some very unique, even if simplistic, X-Men tales with Evolution.
Cheers.
Overall: 8 out of 10
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