Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Contest!! Exclusive first looks!! Dig in!!
Hey Gang. Andrew from GHMonline here with another batch of recommendations for you. Along with our usual group, we have advance looks at Uncanny X-Men #410 (Chuck Austen’s debut issue) from Marvel Comics and Skinwalker #3 from Oni Press.
Before we get to the reviews, we have a deal for you all that we like to call
THE RON ZIMMERMAN/ULTIMATE ADVENTURES CONTEST
Love him or not, Ron Zimmerman has everyone's attention (as evidenced by the amount of views and posts that occur whenever a thread has his name.
Zimmerman is one of 3 creators in the U-Decide contest, launching the newest Ultimate title called Ultimate Adventures and he wants you to get a first look at it and decide for yourselves.
Step one is to email me (grayhaven00@aol.com) for a mailing address. Then you'll send a SASE along with a short essay (or note or sentence...U-Decide). You have 2 themes to choose from: Ron Zimmerman is the Best or Ron Zimmerman is the Devil. Everyone who sends in a SASE will get back the script to Ultimate Adventures #1 and possibly a few preview pages of the book, too.
As an added bonus, the 2 best essays or notes or sentences will receive and extra prize.
Get your first look at Ultimate Adventures for the price of a stamp, then U-Decide!
And now, on with the show…
AVENGERS #56
Written by Kurt Busiek and Illustrated by Yanick Paquette
Published by Marvel Comics
Reviewed by Aaron “Vroom Socko” Button
The Avengers have faced some of their most challenging adversaries during Kurt Busiek’s run as writer. The Squadron Supreme, Ultron, and Kang are only a few examples. But this issue has them facing a different sort of challenge, accountants.
Of all the stories that Busiek could have told as his farewell, I wasn’t expecting an audit by the Maria Stark Foundation. I also wasn’t expecting a story about managing Avengers expenses to be so entertaining. It’s also refreshing to see a superhero team that has it’s own system of accountability for property damage. Focusing on a recent conflict with the Elements of Doom, two foundation employees interview the team to see that the expenses incurred were justified. Everything from the improper use of a Comsat satellite to the destruction of a Quinjet to Captain America’s parking ticket is held up to scrutiny.
This issue also plays catch-up with what’s been happening with the various members in their solo books. Thor is shown as his old self in the flashbacks, but is garbed in his Lord of Asgard outfit in the main story. Later, one accountant tells Iron Man that Tony Stark’s money isn’t his to waste, only to have her partner ask her if she’d seen the news that week. There are also some fun little character moments, such as She-Hulk dispensing legal advice, Cap’s understanding of red tape, the Beast being the Beast, and USAgent being an ass.
The one minor point of disappointment I had was with the art. This is not to say that Yanick Paquette is a bad artist, he’s quite good. I simply wanted to see George Pérez come back to draw Busiek’s final issue. Not only is Pérez the best damn Avengers artist of all time, but he’s also the one who made the Beast’s blue fuzzy form palatable. Perhaps he could have done it again, but oh well.
All in all, this is a fine farewell issue for Busiek. Fortunately, Geoff Johns will be the new Avengers scribe next month. And, if what I’ve heard is true, we’ll be graced with a new Astro City tale very soon. Whether that happens or not, I’m looking forward to the first Johns written Avengers arch, almost as much as Busiek’s much anticipated JLA/Avengers story. Perhaps then we’ll see Pérez make the “new” Beast look good.
THE DARK KNIGHT STRIKES AGAIN #3 (of 3)
Written by Frank Miller and Illustrated by Frank Miller and Lynn Varley
Published by DC Comics
Reviewed by Aaron Weisbrod
I was sitting in the comic shop with some of my buddies this past Wednesday, one of whom had already finished reading Issue #3 of THE DARK KNIGHT STRIKES BACK before I arrived. As we sat there chewing the fat, he made an interesting comment: “You know, this series is as much a Superman story as it is a Batman story.”
A few hours later I was at home sitting on my couch. Having just finished DK2 #3 myself, the first words out of my mouth were “Damn, he’s right on the money.”
And therein, perhaps, lies part of the problem people have had with this series. Well, that and the art—but I’ll get to that in a minute.
With this final issue of DK2 readers are finally exposed to Batman’s master plan for bringing down Lex Luther, Superman comes to terms with his daughter, the conflict with Brainiac comes to a bitter end, the inclusion of the various other DCU superheroes finally pans out, and the identity of the new “Joker” is finally revealed.
Furthermore, he even managed to focus on both Batman and Superman simultaneously without having them resort to kicking the holy hell out of each other! Come to think of it, Superman (and his daughter Lana) did have an unusually large presence in this series, but I guess that’s why this book wasn’t marketed as BATMAN: THE DARK KNIGHT STRIKES AGAIN.
However, micro-examination aside, the question that is bound to polarize fans for years to come is this: “Did Miller turn this mini-series into a winner with Issue #3?”
Well, as surprised as I am to be saying this, I’m going to have to say that he did. Now, before you flame my ass like a marshmallow on a campfire in the “Talkback” section, at least give me a chance to explain where I’m coming from on this…
Like most people, I wasn’t very fond of (read: hated) the art in the first two issues of this mini-series. I thought the coloring and inking in Issue #1 was simply awful at several points and that Issue #2 used waaaaaaaaay too many splash pages and huge space-consuming panels waaaaaaaaay to ineffectively.
That being said, I think he rectified these problems in Issue #3. Although I doubted it was possible when I finished reading Issue #2, Issue #3 actually wraps up the series in a neat little bow, and in doing so he saved the series from being the literary trainwreck many people predicted it would be.
I guess that’s what you get for judging a book before it’s finished, huh?
Mind you, I’m not saying the book (and the series as a whole) wasn’t without flaw. For example, Miller borrowed waaaaaaaaay too heavily from several other “distopian” superhero tales when writing DK2. Well-read comic book connoisseurs will recognize several ideas and concepts “borrowed” from classics such as MIRACLEMAN, WATCHMEN, the proposed-but-never-published TWIGHLIGHT OF THE GODS (dedicated fans should be able to find a copy of this amazing proposal on the Internet if they search long enough), and KINGDOM COME. (You noticed that “Big Daddy” Alan Moore wrote three of those four books, right? Good.)
In addition, the revelation of the “Joker’s” real identity came from so far out of left field I find it hard to take the concept with any degree of seriousness. But then again, I’m not sure I was supposed to…
Finally, it’s obvious that Miller and colorist Lynn Varley were experimenting with their art styles as they started working on this book. Mind you, I’m all for trying new things (say what you will against Miller, but you have to admit that he’s capable of producing a wide array of beautiful art styles). However, THE DARK KNIGHT STRIKES AGAIN, the sequel to one of the most revered and influential comic book stories of all time, was NOT the book to experiment with “off the cuff.” End of discussion.
Although it started on shaky legs, THE DARK KNIGHT STRIKES AGAIN ultimately comes together as a concise and rewarding story. I wish the art on the first two issues was a little more consistent, and there were one or two minor plot threads that were ultimately left unresolved or unexplored (where did James Olson go… unless he was The Q—… naaaaaah), but overall, the final issue left me with a new appreciation for the series as a whole.
That being said, would I be interested in seeing Lana, Catgirl, and the rest of the surviving characters (including those yet to be born) again in a “DK Universe” overseen by Miller?
Ask me in fifteen years
THE DARK KNIGHT STRIKES AGAIN #1-3
Written and Illustrated by Frank Miller
Published by DC
Reviewed by Elliot Kane
The two greatest graphic novels ever written are, without any shadow of a doubt, Alan Moore's WATCHMEN and Frank Miller's THE DARK KNIGHT RETURNS. Both works were as complex, meaningful and compelling as the best novels, and proved beyond all doubt that comics were as valid a means of communicating ideas as any other. It is no exaggeration to say that they changed the whole face of the comics industry and set a benchmark that has yet to be surpassed.
Small wonder then that when DC announced that Frank Miller was to create a sequel to THE DARK KNIGHT RETURNS, comics fans everywhere reacted in much the same way as STAR WARS fans had reacted to the announcement of THE PHANTOM MENACE. A similar sense of expectation created a climate in which the fans were bound to be disappointed at whatever Miller did. No sequel can ever be as innovative or as potentially life changing as the original.
THE DARK KNIGHT RETURNS (DK1), for those who have not read it, was a biting social and political commentary on the state of America at the time, and the inherent dangers of poor education and permissive liberalism. It was also a story about Batman coming out of retirement to once more take up the mantle of saviour and protector of 'his' city – to save the people from themselves. The government responds by hounding Batman until he fakes his own demise. Unsurprisingly, DK1 hit the industry like a shock wave.
THE DARK KNIGHT STRIKES AGAIN (DK2) takes up the story three years after the end of DK1. Batman is now ensconced in an underground hideout with some young followers, and finally ready to take the fight to the enemy – the American government, as run behind the scenes by Lex Luthor and Brainiac. This time Miller's political target is obviously Bush rather than Reagan, but the sociological message remains the same. DK2, like DK1 before it, is a cry to the American people to wake up before it is too late.
DK2 expands the cast to include many of the heroes of the DCU, and all of the big icons. The role of these traditional heroes in a world where the villains are in charge is not a happy one, and only the Dark Knight has the necessary ruthlessness to do what must be done. Batman himself appears in the story far less than he did in DK1, acting more as orchestrator of events than direct participant.
The story works well, and serves to convey Miller's messages clearly, which is its purpose. It isn't as good as DK1, and it won't have as great an impact on its readers, or on the industry as a whole - it is after all a continuation rather than a new concept. That being said, it is a solid story that will surely be appreciated for what it is – rather than what it is not – when all the hype has died down.
Miller's art is impressionistic rather than realistic, particularly with his ordinary people being interviewed, each of whom represents a type or a socio-political position rather than an individual per se. The look of his heroes represents the state of their minds, with Superman looking as old as he feels at the time, and Batman weathered and rock-like – all indomitable will.
Overall: The story must be read as a whole to be truly appreciated. It is certainly flawed, with the second part especially seeming rushed and containing far too many splash pages. DK2 is not the landmark that DK1 was, but it is certainly worth reading.
REX MUNDI #0
Written by Arvid Nelson and Illustrated by Eric Johnson
Published by Image Comics
Reviewed by Aaron Weisbrod
Those of you who didn’t sleep through your World History classes may remember hearing about The Inquisition: a brutal arm of the Catholic Church that hunted down and (in many cases) killed suspected heretics throughout Europe. Although the official bodycount assigned to this ruthless organization will probably never be agreed upon, saying they were responsible for the deaths of thousands of people is most likely erring on the side of caution. After all, this was before the concept of “innocent until proven guilty” was in practice, and the Church has a notorious history of getting rid of “troublemakers” with extreme aggression.
Well, imagine a world in which the Catholic Church gained ultimate power, the Inquisition was a practicing organization, feudalism was never abolished, and magic was a much-more widely recognized practice. Got it? If so, than you’re most likely picturing the world as it is portrayed in REX MUNDI.
For the record, REX MUNDI is not named after any characters in the book. Rather, it is the Latin term for “King of the World,” and it is a term that is sometimes used by devout Catholics when referencing Jesus Christ. It also meant something different to the Christian “heretics” of medieval France, but I’m not going to do ALL of your homework for you…
Issue #0 of this new ongoing series opens in Paris circa 1933 with a priest named Father Marin arriving at the doorstep of physician Dr. Sauniere. Apparently Dr. Sauniere is somewhat of a sleuth in his spare time, and Father Marin fears that no one else may able to help him with his current predicament. After Marin makes Sauniere swear on the cross that the information he is about to reveal will stay between the two of them, he reveals that a scroll containing the burial sites of several former French monarchs has been stolen from the library he was trusted to safeguard. To make matters worse, Marin has good reason to believe that the scroll was stolen using spellcraft (aka: magic).
Willing to help his old friend (who has apparently helped him on several occasions in the past), Sauniere sets out to question the only possible suspect in the theft, and in doing so he makes a horrifying discovery.
Following the main story is a short “newspaper” section that outlines many facts concerning the current climate of the world in which REX MUNDI takes place. It’s an interesting format (almost identical to the one used by Rick Veitch in the recent GREYSHIRT mini-series) that lends an abundance of supplemental information concerning REX MUNDI’s political climate, the Cabalah, and the Sephirothic Tree of Life to those willing to dedicate a few minutes to reading some non-comic-based text.
Furthermore, the issue closes with a short “Brother Matthew” story. Matthew is a basically a “junior member” of the Inquisition who exists within the same world as the characters in the main story. Although this short introductory tale does little more than introduce young Matthew’s character, it is obvious that his tales will give readers the view from The Inquisition’s side of this unfolding epic… even though Matthew himself does not seem to be as devoutly loyal to The Inquisition’s cause as he pretends to be.
I heard about REX MUNDI months ago and have been anxiously awaiting its arrival ever since. It’s obvious in this first issue alone that co-creators Nelson and Johnson have done their History homework, but at the same time they don’t let the facts (or their extrapolation of them) bog down the pace of the book. At its core REX MUNDI is (for the moment) a mystery/thriller, and Nelson and Johnson use the rich and multi-layered environment they’ve created serve as a storytelling resource rather than a hindrance.
The exquisite artwork is also worthy of a special mention. Johnson’s art looks like a cross between John (PLANETARY) Cassaday and Todd McFarlane. It’s beautiful stuff that drips with realism and atmosphere. If you happen to see this book setting on the shelf of your local comic shop, peruse the first few pages to see what I mean… then, after you buy it, just wait until you get to that two-page spread near the end of the book. Somehow, it manages to be beautiful and horrifying at the same time!
Quite frankly, REX MUNDI #0 is one of the moist promising and exciting debut issues on an ongoing series that I’ve read in years. If you’re a fan of “revisionist” books such as LEAUGE OF EXTRAORDINARY GENTLEMEN, FROM HELL, PLANETARY, AGE OF BRONZE, or FABLES; thrillers such as RUSE, 100 BULLETS, or POWERS; and/or magic-based books such as PROMETHEA or LUCIFER, you owe it to yourself, as well as these talented creators, to explore this promising new title. After all, remember that by buying this book, you’re directly supporting the creators themselves (rather than some corporate executives in suits).
Mark my words: the industry needs more books like REX MUNDI.
Considering this, don’t be surprised if Crossgen scoops this book up under one of their new imprints within the year. Either way, in just one issue, REX MUNDI has hooked me in for the long haul.
Do yourself a favor and ask your local comic book provider to order you a copy of REX MUNDI #0, and then surf over to the official website at www.rexmundi.net to check out some additional installments of “Brother Matthew” on the web. As it stands right now, REX MUNDI is probably the best book currently being published that you’re not reading.
ROUTE 666 #2
Written by Tony Bedard and Illustrated by Karl Moline
Published by Crossgen Comics
Reviewed by Aaron Weisbrod
Cassie Starkweather just can’t get a break.
When she was little she told her parents about her uncanny ability to see ghosts, and as a result she was sent to a battery of psychiatrists. Then, while in college, her best friend died due to Cassie slipping on the balance beam. Of course, Cassie is visited by her friend’s ghost that night, only to see her spirit unexpectedly carried away by a pair of evil ghosts moments later. Freaked out, Cassie once again tells her parents about her special ability. This time they pull her from school and have her committed to the Melchior Sanitarium… and wouldn’t you know it: now Cassie is saying that the sanitarium is run by a gaggle of ghosts and monsters! What are the chances? Gee, maybe Cassie really is just crazy after all…
That, in a nutshell, is the premise behind ROUTE 666, another great non-fantasy-based book being produced by Crossgen.
Issue #2 starts with Cassie being accosted by the same pair of ghosts that abducted her best friend’s spirit. However, just when it seems like Cassie is a goner, her grandfather “Too-Too” comes to the rescue. Of course, Too-Too died when Cassie was just a little girl, but hey, help is help, right?
After being comforted by Too-Too (or is he just a manifestation of her subconscious?) Cassie has another freaky encounter that prompts her to try and escape from the sanitarium. However, she has friends on the inside that care about her… should she abandon them and worry about saving her own skin or risk trying to “rescue” them as well?
I’ve recently heard rumblings that several people aren’t buying this book because artist Karl Moline has yet to finish the artwork on FRAY, a “Buffy the Vampire-Slayer” spin-off book that was due out months ago. Well, for the record, I heard from Moline himself that he has yet to receive the rest of the scripts for the remaining issues of FRAY from Wheldon. It’s sort of hard to draw from a script that doesn’t exist, isn’t it? I mean, if the concept behind ROUTE 666 sounds interesting, check out the individual issues or buy the TPB once it’s released… but don’t boycott the book because you have a beef with one of the book’s co-creator’s partners! That’s just as stupid as not checking-out an interesting, well drawn, accessible, and timely comic book because it’s being produced by a company that’s not one you normally but books from! Honestly: how closed-minded can you get? Geez…
By the way, ROUTE 666 has no sigils in sight (yet), and in only two issues Bedard has already created a vast world in which Cassie can have wild supernatural(?) adventures. If you’ve finally broken down and are ready to try some of Crossgen’s books (or are finally on the verge of doing so), ROUTE 666 is just as good as a place to start as RUSE and/or THE PATH… especially if you’re a fan of “Buffy the Vampire-Slayer” and/or old Universal Studios monster movies
SCION #26
Written by Ron Marz and Illustrated by Jim Cheung
Published by CrossGen
Reviewed by Elliot Kane
Elijah was born a Lesser Race slave in Raven lands, but rumours have reached him of an island where slaves can be free, and he and three others set out to find it in this stand-alone story. The SCION team are trying something new here, and it works really well. SCION #26 is not so much a comic as an illustrated diary.
Marz takes on the very difficult job of telling a story with no dialogue or character interaction, just the observations of one person as he and his companions go through various trials and tribulations in their search for freedom.
Elijah is no hero or great warrior - he is no smarter or tougher than anyone else – but his story is a deeply affecting one precisely because he is so ordinary. His story feels almost real.
Marz lets us inside Elijah's head, showing us his mental and physical struggle for freedom, and exactly what the promise of it means to him. We feel that we know Elijah, so his struggles have meaning for us.
On other levels, this story shows us more of the world of Avalon than we had so far seen, and gives insights into the Raven mindset, and that of their Lesser Race slaves. It gives the reader a new perspective on Ethan & Ashlegh's actions too – how they have brought hope to a people who had none.
Jim Cheung gets to create some wonderful and atmospheric pictures to convey the mood of the main character, his companions, and their journey. His landscapes are rugged and beautiful, giving a real sense of vastness, and his wild animals are fierce and feral.
Overall: This is a powerful story, well told. It will draw you in and move you and keep you enthralled to the last page. It's also a great jumping on point for anyone who has yet to discover the world of SCION.
SKINWALKER #3
Written by Nunzio DeFilippis and Christina Weir and illustrated by Brian Hurtt and Arthur Dela Cruz
Published by Oni Press
Reviewed by Andrew Goletz
In Stores August 14
Some people have started to compare this wonderful new series to the television show Twin Peaks or the film Silence of the Lambs. With its FBI agent protagonists and weirdo killers, it’s easy to see a passing resemblance but those people are doing a disservice to Skinwalker, which is a much better story than either of those two examples.
Skinwalker features Agent Gregory Hawthorn of the FBI, recently promoted and well on his way to going up the ranks of the Bureau, as is his plan. Hawthorn gets a frantic call from an old friend and original partner, Brian Forsythe, who’s up to something in Navajo county. Whatever it was seems to have spooked his old partner, so Hawthorn heads out to check on things. He meets Ann Adaki, a tribal police officer who has no love lost for the Feds and fears that Hawthorn’s presence means that the government is going to be stepping on her toes again.
Their stories are intertwined in more ways than one when it seems that Charlie Wiletto, who was recently released by Navajo authorities after taking part in a peacemaking ceremony has apparently killed Agent Forsythe and has done so in a manner befitting a skinwaker. A skinwaker is someone who believes that they can harness the power of an animal that they skin by wearing its coat on their body. Wiletto’s the first to attempt this on another human, though.
As the story progresses it becomes apparent that this first grizzly murder scene won’t be the last and the Bureau is called in to take over the case, leaving Hawthorn on the outside since it doesn’t cover his area of expertise. Adaki is also left out of the investigation because to the FBI, she’s nothing more than a rural rent a cop with nothing to offer the Feds in the way of help. Hawthorn is able to convince his superiors to let him stay on but doesn’t offer support for Adaki. The bureaucracy of the FBI notwithstanding, the true high point of this series so far has come from the ‘fish out of water’ motif with both Hawthorn in Navajo county and Adaki in dealing with the government. The relationship between the two characters is intelligently written and believable. Adaki and Hawthorn ae both very good at their jobs, although their expertise covers two vastly different areas and here is a case that will make them truly rely on each others cooperation. It’s not too often that we hear about the goings on in places like Navajo county where the culture is different from what we are used to. It’s a shining example of what this industry can do when a comic book gives us one of the more informative looks at just this very topic.
As this third issue begins, another body has been discovered and Hawthorn, based on the evidence he’s been told about, has come to the conclusion that Agent Forsythe is the killer, not Wiletto. In explaining the reasoning to his superiors, Hawthorn also deduces that Forsythe is probably going to have to kill at a rate of 2 people a day since he only has a limited time in each skin. With the case set to move East, Hawthorn, in a moment of good faith, requests that Adaki stay on.
From this point on, Adaki and Hawthorn go their separate ways. Hawthorn heads East to begin investigating Forsythe and try to understand how the agent became involved with this while at the same time attempting to come up with a measure to stop him. Adaki uses her Navajo connections to try and predict the killer’s next move. It’s interesting to see how the two use completely different resources and methods to uncover the truth in their searches. The entire sequence is entertaining not just for the varying means to which the main characters seek their answers, but also as a comparison study to two different forms of police procedure.
If the writing makes up the heart of Skinwalkers then the art is definitely its soul. Hurtt and Dela Cruz put a great amount of effort into their craft and it adds so much to the story. Whether it’s the incredibly detailed backgrounds to the subtle touches like an agent in the background reading a newspaper instead of paying attention and mysterious figures lurking in backgrounds, each panel has something more to say.
Skinwalkers is slated to run as a four issue mini-series, as most of Oni’s books do. But like Queen & Country, this is a book ripe with potential and deserving not only of wider recognition, but of a life beyond issue #4.
30 DAYS of NIGHT #2
Written by Steve Niles and illustrated by Ben Templesmith
Published by IDW Publishing
Reviewed by Andrew Goletz
I watched the film ‘Insomnia’ a few months back and while the revelation about a place where it stays dark (or in this case, light) for six months on end wasn’t new to me (I watched Northern Exposure, too), it was still captivating. One of the many pleasures from the film came from following the Al Pacino character’s battle to try and sleep when the sun shines high 24/7 even at 3 in the morning. Work will sometimes cause me to go 2 or 3 days without sleep and I still can’t doze off when the sun is still out, so it was a problem that I could understand. And all the while, my mind drifted to how people deal with the other half of the year when it’s completely dark. What a quirky situation to be living in.
Steve Niles thinks it’s pretty interesting, too, but adds one small element to the story set in the town of Barrow, Alaska, that puts this into unique territory: vampires. After all, if there’s a place where the sun doesn’t rise for (in this case, 30 days) it’d be a month long party for the creatures of the night and a torturous affair for the residents of said town.
The first issue of the series established the town of Barrow along with some interesting tidbits like how alcohol is prohibited during the sundown period due to the extraordinarily high number of suicides during that period. Nuances like this add a great touch towards developing and bringing the reader right into this world. We were also introduced to a nearly unstoppable maniac and the law enforcement that put him down. By the final page, both the cops and the reader knew that this situation was unlike any other. The town had been invaded by vampires, who were going to take advantage of the lack of sunlight.
When issue two begins, the vampires have pretty much wiped out the entire town, save for a handful of survivors who have remained hidden underground. Not all of the remaining townspeople are in great shape and with lack of medical supplies and dwindling rations (not enough to survive a month), the sheriff heads above to gather what he can. Along the way he runs into one of the many vampire who’ve taken over the town and discovers that the vampires can’t find them since they’re hiding underground near cold, which dampens their senses. The sheriff and the vampire face off and although this monster isn’t as easily put down as the person in the previous issue (even a gunshot to the face merely slows him down), the sheriff is able to escape unharmed.
Meanwhile, a mysterious stranger is planning a trip to Barrow. We aren’t given that much insight into his character at this point except that he appears to be very sure of himself and whatever purpose he has in going to Alaska. It’ll be interesting to see what develops of this character in particular in the next issue.
As the remaining townspeople hide underground they hear noises from above. The vampires are cheering. A new character has entered the fray (and it’s not the mysterious stranger from above) and throws everything into a bit of a quandary. I was pleasantly surprised with the arrival of this character and the reasoning behind his actions. Niles doesn’t take the readers for granted by making this a flat out horror story with mindless creatures wreaking havoc on innocents and there is strong characterization with all of the major characters, both man and monster.
Niles, who is writing the terrific ‘man stuck in a suit of armor’ book, Fused) has created a horrifying situation here. The vampires appear to be just within reach of annihilating the entire town and the only hope for the survivors seems to be to hide. And while his pacing and dialogue set a bleak mood for the reader, it’s Templesmith’s art that will effectively give you nightmares. The vampires are grotesque in their true form, sure enough, but the coloring is what is most effective here. Everything is shaded with blacks and grays to accurately give the sense of night and darkness, except for when the vampires are around. Then, the reds are given prominence. Everything from the vampire’s eyes to lips and gums and blood covered teeth is tinted with a crimson red that stands out more than any other image in the book and stays in your head long after you’ve finished reading.
Most of you may be aware that Niles made some big news a few weeks back with the announcement that ’30 Days of Night’ was headed for the big screen (possibly with Sam Rami attached) and I for one, can’t wait to see how this would translate as a film. But don’t wait for the movie, now. Go track down these first two issues and be on the lookout for the third and final installment of one of the creepiest and scary stories you’ll read all year.
UNCANNY X-MEN #410
Written by Chuck Austen and illustrated by Ron Garney
Published by Marvel Comics
Reviewed by Andrew Goletz
In Stores August 7
I can count how many times I’ve picked up this title with the hopes of it being interesting and having my hopes dashed. There was the Mutant Massacre storyline: my first mutant experience, which was thrust upon me by my cousin, a die-hard X-fan who convinced my Spider-Man loving self to try the story. Try I did, and after reading his copies, never bought one myself. Then I picked the book up again when Chris Claremont made his much hyped return to the books, I didn’t care for the first issue, but decided to give the benefit of the doubt (I usually give a book 3 tries before giving up all hope), which it never repaid to me. Then last year, I gave it one more shot when the entire X-Books underwent their big revamp. Grant Morrison won me over. Sadly, Joe Casey did not. I think Casey’s Wildcats is one of the best books on the market and think he does a better than average job on Superman, but his X-Men did nothing for me.
And here they go again. Chuck Austen is one of my favorite writers and not just because his name reminds me a bit of the 6 Million Dollar Man. His US War Machine for MAX Comics was one of the biggest treats of my comic reading life. If you haven’t checked out US War Machine (now available in Trade Paperback) please do so. It’s an entirely creative and twisted take on the Iron Man ideal. Chuck is also writing two of the excellent Call of Duty books (The Brotherhood and The Wagon). I also thought Ron Garney’s art was pretty nice, so I was interested in picking this up anyway.
Finally, they got it right!
The issue begins with Sammy (who I want to call Fish-Boy, because he looks like a fish) walking home from school and being humiliated by other kids. They tease him and hurt him because they know he won’t do anything about it. And he doesn’t. We get inside Sammy’s head and understand the pain. He isn’t like Iceman or Jean Gray or Wolverine. He looks different. He looks like a fish. He’s a freak. And he realizes that his ability to breathe underwater isn’t exactly the type of power that is going to make his attackers back off in fear. He’s a sad little boy who can be helped by no one and decides to help himself. We see the gun. Is Sammy going to use it on himself or become another statistic on teen violence by bringing the weapon to school and fighting fists with bullets?
We don’t need to worry about the horrible ramifications because before Sammy can do anything, his mother announces that they have a visitor, Professor Charles Xavier. Professor X makes his grand appearance and sits to talk with Sammy about other choices that he can take. Watching Sammy get recruited…the hope in his eyes as he listens to what Xavier has to say…Austen strikes a chord here and follows it with Sammy’s inevitable introduction to Beast. Beast is one of the few people who know what Sammy is going through, to have to wear their masks 24/7. Grant Morrison has been doing a good job of introducing new mutant characters in New X-Men, and now Austen has made an addition of his own, which hopefully will be a lasting one. I’d like to see how the team, Professor X in particular, handle the arrival of this young boy and help him adjust to himself.
Before we get more into the relationship between Sammy, Xavier and Beast, Austen knows he has to give the die-hards their money shot and the action switches to the rest of the X-Men team, now on a mission so guarded that not even Xavier shares all the detail with. Soon enough, the communications break down and the X-Men are cut off from Xavier. How? Why? That would be telling. Even without a PHD in X-Men history the last page made me gasp, so I know that long time fans are going to be climbing the walls for the next issue. It’s a one page tease, but as illustrated by Garney (who is doing amazing work here) it’s a cruel, tantalizing tease indeed.
Uncanny X-Men now has a creative team that matches the hype and praise that it was given last year. With Ron Garney’s gorgeous illustrations and Austen’s masterful use of dialogue and pacing, Morrison and company better watch their back because the original X-Book is coming back strong.
X-STATIX #1
Written by Peter Milligan and Illustrated by Michael Allred
Published by Marvel Comics
Reviewed by Aaron Weisbrod
When Peter Milligan and Michael Allred took over X-FORCE I was shocked by how it quickly became one of my favorite titles. After all, I’ve never been able to get into Allred’s MADMAN, and Milligan is a writer that has managed to slip under my radar for years (even though I’ve recently discovered that he’s written numerous comics I’ve heard good things about but never read).
Regardless, X-FORCE is dead…
Long live X-STATIX!
As a proper Issue #1 should, X-STATIX does a nice job of re-introducing all of the central characters. As a fan of the series from the get-go, I was happy that Milligan managed to do this without an abundant use of insulting expository dialogues and forced monologues Rather, you get to know each character through his or her actions and natural dialogue as the story progresses.
Along these lines, the cast’s personalities seem more “stripped-down” than they had been towards the end of X-FORCE. Early in the original series the characters came off as neurotic self-absorbed pricks, but as time progressed several of them seemed to mature and, in the process, go a little soft. Granted, this perceived change in nature may have been in part due to my growing fondness for the characters, but it was also due to the camaraderie that began to develop among some (although certainly not all) of the teammates. Quite frankly, several of the characters began to care for one another, and in doing so many of them became a little less egocentric in the process.
However, ever since the accidental death of one of the core team members during their last mission as X-Force, all bets are off once more. The team members have once again realized that a major part of being in X-For—I mean, X-Statix is the high mortality rate. As a result, most of the characters are once more doing everything in their power to “ride the wave of popularity” for as long as they can until they reach their peak popularity… in death.
For the uninitiated, that’s the basic concept behind X-STATIX: it focuses on mutants who have agreed to become part of a “suicide squad” type team because it will make them instant celebrities in the eyes of an otherwise mutant-hating public. “Hey, if you’re a freak who sweats acid there’s a pretty good chance that you’ll be beaten to death in the middle of the street by an angry mob! However, if you join the uber-popular celebrity hero-team X-Statix, you can instead look forward to having a best-selling perfume named after you… until you’re blown-up by a jealous teammate who ‘mistakes’ you for an enemy soldier, that is!”
Although the “anti-team” vibe has been used with varying degrees of success in other team books in the past, the concept reaches a whole new level in X-STATIX. I mean, this is a team that comprises of people who have joined the organization with the sole purpose of gaining popularity! Not to put too fine a point on it, but X-Statix Inc. is not about saving the world nearly as much as it’s about pimping out the members to make money off X-Statix-related merchandise. “So you killed your whole family when you were eleven years old? Well, that WOULD be a problem if it weren’t for the fact you have a great body and a marketable mutant power… so welcome to the team! You’ll fit right in with the suicidal team captain, the gay-bashing ‘gangsta,’ the homosexual bookworm, the obsessive-compulsive guy with an identity crisis, and the dead chick who crawled out of her own grave a little while back!”
Then there’s Doop. Good God… don’t get me started on the horror that is Doop.
Fans of intelligent team books such as THE AUTHORITY, THE LEAGUE OF EXTRAORDINARY GENTLEMAN, PLANETARY and TOP TEN would do well in giving X-STATIX #1 a shot. Month after month Milligan and Allred’s creation has proven itself as one of the best damn books on the market.
Just make sure to keep an eye on Doop. *shudder*
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