AICN COMICS: GrayHaven Reviews!!

Hey, everyone. "Moriarty" here with some Rumblings From The Lab.

Andrew from GrayHaven has been good enough to send over another big batch of comic goodness for you, so dig in!

Enjoy!

This was my first foray into the world of BLUE MONDAY, and while it usually takes me at least two issues to appreciate a new read, I was enjoying this comic by the first few pages. TO be fair, the fact that it had a Halloween theme helped to draw me in. Heck, if I saw a Halloween-themed ARCHIE I would buy it! In fact, come to think of it, if this book were ARCHIE, Bleu, Clover, Monkeyboy, Erin, Alan and Victor would be those Riverdale punks!

The story itself unfolds much like one of the "Tree House of Horror" episodes of THE SIMPSONS. Erin hosts a Halloween party at her house, which is in "full effect" until a storm knocks the town's power out and most of the kids get picked up by their parents. Bleu, Clover, Erin, Monkeyboy, Alan and Victor stick around and, much to the chagrin of the boys, decide to tell scary stories. Chyna uses the kid's stories to poke fun at horror movies with inane plots and gratuitous or poorly placed sexual situations while also serving to reflect upon and develop each character's unique personality. Victor (dressed as Alex from "A Clockwork Orange") tells an ultra-violent and absurdly funny zombie tale. Erin parodies "The Rocky Horror Picture Show" and Bleu tells a gothic vampire story (complete with superb gothic lettering by Bryan O'Malley). These stories provide an exceptional vehicle for Chyna to further expound upon her characters' personas.

Considering this approach, it should come as no surprise that it is the characters that make BLUE MONDAY such a high-quality read. At times they are crude or urbane, depending on which character is telling the story, and he funniest moments come from the witty repartees and rejected sexual advances between the characters. They poke fun at one another in their stories and even smack each other around a bit. The cast of BLUE MONDAY is immediately engaging and surprisingly realistic-which brings me to the only drawback of the book.

I am not sure how the supernatural element fits into the story. There is no explanation provided for this, but Bleu carries two sculpted, sentient Jesus heads with her. When they escape from her pocket they make repeated attempts to kill Clover, who is dressed like a devil. In the end a large gerbil, or some other manifestation of rodent, appears and his significance escapes me as well. The presence of these spirits and supernatural characters did more to break up the pleasant flow of the story than anything else. (Although I must admit that I laughed out loud when I saw the giant gerbil-who could resist a giant rodent singing the "Humpty Dance"?)

Chyna's art works well with the story because it has a kind of comic strip or "funny book" style to it, and there is clearly a strong Manga influence that becomes especially visible in facial expressions. The specific artwork she is using fits perfectly with this humorous book, but it would most likely meet with floundering results if used in conjunction with any other genre. The book looks great in black and white, but judging by the cover, this title could really benefit from the addition of color.

Even though this was not the first tale spun around these characters, one would be hard-pressed to recognize it (with the exception of one reference to a prior issue.) As a result, this story is readily accessible to new readers, but will probably appeal more to the kind of people who would appreciate Chyna's homage to the Droogies, punk, and "Rocky Horror." It is coarse and whimsical at the same time, providing a lot of story at a small price. Chyna packs in the dialogue and squeezes jokes into the smallest spaces, which includes providing tiny sub-comic sketches and one-liners in between panels a la Ted Rall. As an added bonus, Dan Brereton provides a nice back-cover painting.

Chyna even provided a punk soundtrack to the book, which was a novel and entertaining idea. Music is the one benefit movies and television unquestionably holds over comics, and Chyna helps to close that gap by including it here. Punk greats like the Misfits and Ramones add to the story with such appropriate songs as "Halloween" and "Howling at the Moon" respectively.

BONEYARD #8
Written and Illustrated by Richard Moore
Published by NBM Publishing
Reviewed by Aaron Weisbrod

Very few books excite me more than BONEYARD.

Why writer/artist Richard Moore is not yet mentioned alongside names like Brian Michael Bendis and Frank Cho is beyond me, for Moore is easily one of the best "undiscovered" comic talents this side anyone on the Oni Press roster.

For the uninitiated, Moore's quarterly comic BONEYARD focuses on Michael Paris, a young man who has recently inherited a graveyard inhabited by a group of friendly (and more often than not, hilarious) monsters. Shortly after taking over the property Paris discovered that none other than the Devil himself (posing as the town mayor) had an interest in taking control of the cemetery for yet unknown reasons. Out of respect for the "boneyard's" residents, Paris refused to give-up the property, and in the process had seemingly beat the Devil at his own game.

However, now the I.R.S. is after Paris seeking an exorbitant sum of money from him in back-taxes. Realizing that Paris is virtually penniless, the monsters recently tried to stage a "celebrity boxing" event to raise the funds. However, still in the hole (so to speak), Paris is now strongly considering taking an offer by a female businesswoman named Roxanne. This mysterious woman has made him a standing offer that includes giving him not only quite more than what the cemetery is worth, but also a promise not to raze it or dislocate its inhabitants. However, there may be more to this woman (and her offer) than meets the eye...

The overriding theme of Issue #8 seems to be romantic and sexual tension, as this topic continues to pop-up in different forms throughout the issue. Although Moore sometimes brings this topic to light in very humorous ways (as is the case when one of the residents unsuccessfully tries to sneak a peek at the voluptuous swamp creature Nessie as she prepares to go skinny-dipping... or when Paris and a few other residents reflect on the image of Abbey the vampire posing for a nude painting), he also explores the topic with a very sanctimonious seriousness on several occasions. While depicting the slow-burn romance(?) during the "coffee-date" between Paris and Roxanne, Paris's inadvertent dissing of Abbey's subtle hints about her feelings for him, and Abbey's pondside musings concerning the aforementioned incident, Moore does a masterful job of delving into the frustrating yet poetic aspects of dealing with unspoken mutual attraction.

Although part of the draw of this book is the monstrous cast (most of whom are homages to specific classic movie monsters categories), with each passing installment the residents come to be less and less identifiable as spooky creatures and more and more identifiable by what they stand for and, as cliché as it sounds, who they are on the "inside."

Several months back Wizard Magazine highlighted BONEYARD as an "undiscovered gem" worthy of greater attention, and I (for once) find myself agreeing with them as BONEYARD continues to get better and better with each passing issue. Moore's cartoonish, almost Frank Cho-like artwork is absolutely stellar, his comedic timing is reminiscent of Gail Simone at her absolute best, and his fine ear for dialogue puts him on par with the likes of Kevin Smith and Brian Michael Bendis.

If you're a fan of books that are equally character and comedy driven, you need to hunt down this book. If you're a fan LIBERTY MEADOWS, ULTIMATE SPIDER-MAN, BLUE MONDAY, THE SIMPSONS, "The Adams Family," or anything by written by Gail Simone, you need to hunt down this book. If you're interested in reading one of the best "unknown" comics currently being published by one of the best "undiscovered" writer/artists in the market, you need to hunt down this book.

Heck, I'll even make it easy for you. Go to "nbmpublishing.com" to order the oversized TPB (which collects the first four-issue story-arc) and issues #5-8 while they're still available. There... I've done my part, now you go do yours. Trust me, if you invest a few bucks into exploring this phenomenal series, you'll find it was money extremely well spent...

CAPTAIN MARVEL #2
Written by Peter David and Illustrated by Chris Cross
Published by Marvel Comics
Reviewed by Aaron Weisbrod

In the first issue of Marvel's re-launched (and re-focused) CAPTAIN MARVEL series Captain Marvel went went nuts and had a mental breakdown. In Issue #2 he has (arguably) gotten a little better, as he is now in the process of discovering his "true place" in the universe... thanks in no small part to the Punisher.

Yes, you read that right: the Punisher.

I've been hesitant in initially telling people that CAPTAIN MARVEL #2 features Marvel's best-known anti-hero largely because it brings back images of the Marvel of the 1990's (when any book that was lagging in sales featured a "guest appearance" by either Punny, Wolverine, or Ghost Rider). However, as everyone who I've spoken with who has also read this issue concurs, the inclusion of the Punisher fits extremely well in this issue.

By the end of Issue #1 Captain Marvel's "cosmic awareness" (a power which allows him to see when disastrous events that are about to happen throughout the cosmos... whether he wants to see them or not) had driven him to the a nervous breakdown, causing him to fall into a coma for a month. This left Marvel Universe-mainstay and now all-grown-up professional sidekick Rick Jones (who is molecularly bonded with the Captain) stranded in another universe. Normally the Jones can communicate with Captain Marvel through a telekinetic link, but his recent breakdown seems to have made any communication with him impossible. The result is Jones stranded in an alien dimension while Captain Marvel tracks down the Punisher in order to learn about "discipline" from the man who has spent years molding his psyche into a textbook case of single-minded, ruthless, and unwavering discipline.

Although the potential for "odd-couple" gags is certainly an option when combining two such radically different characters, David resists the urge for any such moments of jocularity (with the exception of one line in which the Punisher broods over the fact that he is unable to get rid of Captain Marvel, lamenting to himself: "It's not as if I can call in The Avengers"). Instead, the reader is taken on an almost eerie journey as Captain Marvel seems to be remodeling himself after the emotionless and unwavering stone-cold killer. In fact, knowing that David is a writer famous for routinely sprinkling his books with quips and gags made the absence of them all the more powerful. Captain Marvel is now a truly "no nonsense" character who sees the notion of saving and taking lives as more akin to mathematical equations rather than ethical quandaries.

At this point I urge readers to ignore the hype of the "U-Decide" fiasco and the other gimmicks that brought about the much-needed re-focusing of this title. Despite the buffoonery surrounding it, CAPTAIN MARVEL is an extremely well-written and well-illustrated book that is filling a previously unexplored niche in the current Mavel Universe. In fact, CAPTAIN MARVEL is now almost more comparable to 100 BULLETS than cosmic-based titles such as SILVER SURFER. In other words, the galactic soap-opera aspect of this book is (thankfully) gone. Instead, this title now centers on a borderline-infinitely powerful being with the ability (and duty?) to guide the fate of the universe by interceding, or at times NOT interceding, in the chaotic and seemingly random acts of violence and terror that take place across the universe.

Take the time to combine this powerful theme with Chriss Cross's great artwork and Peter David's knack for great epic-storytelling and naturalistic dialogue, and it should be easy to see why CAPTAIN MARVEL is quickly becoming one of the strongest titles in Marvel's already impressive roster.

THE FILTH # 5
Written by Grant Morrison and Illustrated by Chris Weston
Published by DC Comics/Vertigo
Reviewed by Michael T Bradley

How can you NOT love a book that involves giant alien sperm?

While the first three issues of THE FILTH concentrated more on world and character building, Issue #4 gave us our first real "mission" that the main character was involved in. Now it looks like Grant is ramping-up the "mission" portion of the comic, as Issue #5 is "Part One" of a new assignment. Heck, Issue #5 is practically a prologue to whatever will come next, as we only see our "main" character for one page near the end of this issue as he comes onto the scene. Rather, the main story is that of Anders Klimakks, the man with the deformed penis (which, sadly, we do not get to see... after all, this is still being published by DC) and the black sperm. Also, we meet Tex Porneau, an avant garde porn director who is working on something TRULY filthy.

I think THE FILTH is reaching the point where I need to stop reading it and wait for the entire series to come out, because, though I enjoyed reading Issue #5, Grant is saturating this world with detail, and I'm already starting to forget many things. I keep thinking "Haven't I heard this guy's name before somewhere? And if so, was it important?" Furthermore, there are "Wanted" signs prominently displayed throughout a police interrogation scene: should I recognize any of the people displayed? Little things like that are starting to bug me due, admittedly, not to the comic's lack of explaining, but because of my lack of recall. Also, by now, since I understand The Hand a little better, I think the first couple of issues would make a lot more sense.

However, I'm just too damn greedy... wanting more of whatever disturbing dish Grant is cooking this time to wait.

We're now almost to the halfway point with THE FILTH with no signs of Grant having any less fun than he did at Issue #1. Enjoy!

G.I. JOE: FRONTLINE #1
Written by Larry Hama and Illustrated by Dan Jurgens
Published by Image Comics
Reviewed by Mairi St. Thomas

Reading this issue of G.I. JOE issue was a lot of fun! It took me down the 80's cartoon memory lane. Those were the days, eh?

G. I. Joe was one of my favorite cartoons at the time: it was a good ol' fashioned American story with true blue villains versus an elite group of cool military heroes. In G.I. JOE: FRONTLINE Larry Hama easily brings back the same feel as the 80's cartoon, and even improves upon it: the story seems more complicated than the cartoon was with different threads of all the small groups involved in the plot, including the Joes, the Jugglers, Cobra Commander, and Destro and his minions.

In this issue the Joes are brought together for their last mission. Scarlett already has plans for her and Snake-Eyes to retire to his cabin and do some renovating, and this got me to thinking: "Do you think 'This Old House' would do an exclusive episode for our military lovebirds?" Seriously, it's good see a love story also included in the Joe mix. From a female perspective, it adds another interesting dimension to the group.

On this last mission, the Joes must pick up a module in Florida and move it safely to New York. Meanwhile Cobra and Dr. Mindbender plan to use the module to transmit brainwave signals by means of satellite systems, thereby having the ability to brainwash anyone on Earth! (Yikes! I'm putting on my brainwash deflector helmet!)

Cobra Commander sends out the Viper goons, who have obviously been sitting too long waiting for a mission. Their arrogance and stupidity causes them to fail, but lurking in the shadows is a biker group, also trying to work against the Joe's mission.

Dan Jurgens artistic talents work well with Hama's story. It's nothing too fancy: just basic and solid art. His art makes it so that if a reader hasn't seen these characters in a while, they're still easily recognizable from the cartoon and the toy figures. Hama (and/or his editor) also makes it easy for someone who may not be familiar with G.I. Joe, to understand who's who and what's what by having all the secret codes and names asterisked and then explained at the bottom of that particular page.

Overall, I give the issue four out of five stars! It's good Joe fun!

NETHER: THE AGE OF MAGA #2
Written and Illustrated by CD Regan
Published by Maelstrom Graphics
Reviewed by Michael T Bradley

CD Regan LOVES this comic.

When I reviewed the first issue of this comic for my own site, I wrote "This really is an enjoyable comic, especially if you like a lot of detail in your fantasy worlds. If you like Jordan, or Goodkind, etc. etc. etc. (Tolkien, of course), or even just playing D&D, then you'll probably enjoy this finely polished gem." With Issue #2 of NETHER: THE AGE OF MAGA this still holds true. Regan is putting more time and efforts into this quarterly comic than most people currently do.

For example, on his website (www.maelstromgrafx.com/nether), you can find an intensely detailed prologue (over a dozen parts long and still growing!), detailed maps of the world, a SOUNDTRACK(!), and much, much more! Regan is a world-builder, and he obviously loves doing this.

In NETHER #2, we get the same beautiful-and-less-muddied artwork as was presented in Issue #1 (I complained that things were a bit tough to distinguish because of all the dark colors in Issue #1, but Regan seems to have solved that problem). If Regan DOESN'T use charcoal, I don't know how he achieves this book's look, as everything ends up having a sandblasted, scorched look-which is perfect for the post-apocalyptic world in which these demons live.

NETHER #2 is much more action-oriented than the first issue, which focused more on atmosphere and history. But now that we've got the basics out of the way, we're hip-deep into the story (which looks to be ready to run for a LOOOONG time). I can't wait to have five or six of these comics and be able to sit down and immerse myself in the experience that is NETHER.

SPIDER-MAN AND THE BLACK CAT: THE EVIL THAT MEN DO #3
Written by Kevin Smith and Illustrated by Terry Dodson
Published by Marvel Comics
Reviewed by Adam Penname

Fan-favorite Kevin Smith's miniseries, SPIDER-MAN AND THE BLACK CAT: THE EVIL THAT MEN DO, has been a mixed bag thus far. The first issue was fairly plain and a bit inappropriate while the second was clever, very human, and a lot of fun to read. This issue, the third, already has at least one strike against it in the fact that it is a couple of months late... a problem Smith is notorious for having, and one this particular reader does not like to see in the writer who is supposed to take over regular writing chores for the flagship Spider-Man title AMAZING SPIDER-MAN.

Fortunately, Smith is more than capable of writing a great Spider-Man story, as SPIDER-MAN AND THE BLACK CAT #3, "Hate Crimes," demonstrates. Building on the genuinely intriguing set-up from the past two issues, Smith turns his tale towards what seems to be an exciting climax, revealing the truth behind the villain Mr. Brownstone and presenting some significant differences between Spider-Man and the Black Cat at the same time. Interactions between the latter two are hysterical, as their interrogation of Scorpia is priceless and their argument over pursuing Garrison Klum (whom they believe to be Mr. Brownstone) surely sets the stage for future conflict. The dialogue of both characters is lively and rhythmic, and Smith manages to use their words to portray multiple dimensions in both characters. Spider-Man is funny-extremely so-but also intelligent and moral while the Black Cat is more easily driven by anger and revenge despite her returning feelings for Spider-Man.

That latter point, though, is something this issue lacks. SPIDER-MAN AND THE BLACK CAT #2 brilliantly portrayed the sexual tension between Spider-Man and the Black Cat as the former, married, was certainly attracted to his ex-girlfriend while the latter clearly wanted him back. This may have been a bit mature for one of the core titles, but as a point in a miniseries, it was extremely interesting and very intelligently, and tastefully, done. However, in "Hate Crimes," this subplot is apparently completely dropped. Most likely, this is because the series, burdened by delays and failed deadlines, has become a four-issue series rather than the six- or seven-issue (reports vary) series that it was originally intended to be. Perhaps Smith had to streamline the story, and in the process the sexual tension was forfeited.

There are a couple other problems with this issue as well. For example, the conflict between Spider-Man and the Black Cat ends in a very odd way (one that Spider-Man fans will not be happy with). Although it propels the story well enough, it really does not make any sense based on knowledge of these two characters. Also, one may question this book's rating of "Marvel PG." With a particularly disturbing panel in the middle and an even more disturbing cliffhanger at the end, SPIDER-MAN AND THE BLACK CAT #3 is clearly suited for more mature audiences.

Terry Dodson's penciling is not anything phenomenal or particularly impressive, but it is good and perfectly adequate in telling this story. His best work is in the Black Cat's facial expressions, as in various panels he portrays love, admiration, regret, and determination very well. These looks say a lot about the character and are integral to the story. Other expressions, though, like fear or shock, are rather weak. Dodson's greatest skills lie in telling the story visually, making the action clear in every panel, while his weakness seems to be human anatomy, or at least the wildly illogical anatomy of the Black Cat. Just the same, the aforementioned disturbing parts of this story are done very well in ways just subtle enough to avoid being disgusting or gruesome.

Overall, SPIDER-MAN AND THE BLACK CAT #3 is a genuinely good issue. It is exciting and intriguing with some terrific characterization. Smith and Dodson work well together, and their collaboration should lead to a very enjoyable end to this series, and also to an exciting, if not particularly phenomenal, run on AMAZING SPIDER-MAN... if they can meet their deadlines. One can only hope that SPIDER-MAN AND THE BLACK CAT #4 is just a month away...

SPIDER-MAN AND THE BLACK CAT: THE EVIL THAT MEN DO #3
Written by Kevin Smith and Illustrated by Terry Dodson
Published by Marvel Comics
Reviewed by Todd Casey

This was a "make or break" issue for me, even though I've been pleased with everything else Smith has done in comics to date. I found that the sexual innuendoes and double-entendres of the first two issues of were just too much. Spidey is supposed to be a funny guy, but he is a superhero, not a character from "Mallrats." However, I wanted to like the series, so I kept with it and it paid off with this most recent installment.

Spider-Man and Black Cat interrogate Scorpia while she is in her holding cell at the Midtown North Precinct, asking her about who hired her to whack wealthy businessman Garrison Klum. After suffering a serenade by Black Cat and being pelted with balls of webbing by Spidey, she informs them that it was Alberto Ortega of the Ortega drug cartel. By the time the ex-lovers reach the Ortega's Brownstone they find the entire gang murdered and uncover a lone survivor in what is the most shocking moment of the series so far. Felicia and Peter debate about how to go about pursuing Klum, who they correctly surmise is responsible for this massacre. While Peter advocates a wait-and-see approach, Felicia wants to take a more aggressive role. In the end, she becomes frustrated, clocks Peter and swings off into the night to find Klum on her own. Unfortunately for her, he has anticipated her arrival. He nonchalantly cooks up a dose of heroin and proceeds to tell her about his scheme after he reveals his rather unique mutant power. She is rendered incapacitated in a most unexpected manner and it is up to Spider-Man to rescue her. It's a shame the next (and now final) issue has been delayed, because this one leaves off with a nice cliffhanger.

Smith has darkened-up the story with this issue and it really works in his favor. The jokes are there early on, but as things turn bleaker for the two heroes, their light-hearted flirting turns into a bitter argument. Smith provides a nice insight into the role of superheroes through the duo's dispute over crime-fighting techniques. While Spider-Man wants to wait until all the evidence is there before acting, Black Cat wants to go in right away because, after all, they dress up and act outside of the law so that they DON'T have to play by the rules. Is that not the part of the purpose of being a vigilante hero? Smith has also combined a real world villain, heroin, with a comic villain. This mixture results in a very disturbing series of events as Peter and Felicia are reminded of how scary human savagery can be.

The Dodsons mirror the darkness of this part of the story with much more shadow and heavy inks. The mood is bleak and frightening, and there is one page in particular that is downright gut-wrenching. Terry Dodson has a tendency to get a little out of control when it comes to female anatomy and some of his pages look like they were pulled from a CHAOS! title. Mind you, he does pencil a great Black Cat, but his interpretation of her character looks like it may have been modeled on Jenna Jameson or some other overly well-endowed female. However, he draws one of my favorite renderings of Spider-Man and his penciling is overall consistently impressive.

This issue was notable because of what it had over previous issues in the series. I had expected more of Smith initially. He came on too strong with the humor, but that has certainly changed with this story as "The Evil Men Do" has continued. Smith also demonstrates that he has more of handle of Spider-Man when he departs from the wise-cracking-machine interpretation and shows Spidey's ability to be optimistic in the most horrid situations while also exercising seemingly limitless patience. The altercation between he and Felicia, however, was highly suspect because of how easily she brought him down. We are talking about an agile girl with a luck power taking out a seasoned veteran who has traded blows with the biggest and baddest villains (and heroes) there is. Then again, she is "a woman with father issues who's pushing thirty, crammed into wet leather, and nursing a mean case of PMS"... so maybe she could whoop up on ol' webhead like that after all...

ULTIMATE SPIDER-MAN #29
Written by Brian Michael Bendis and Illustrated by Mark Bagley
Published by Marvel Comics
Reviewed by Adam Penname

The previous issue of ULTIMATE SPIDER-MAN, the single-issue "Sidetracked," felt very out of place. The conclusion of the Green Goblin arc in #27 had contained numerous significant plot developments, none of which were addressed in the subsequent issue. As a result, ULTIMATE SPIDER-MAN #29 feels like the true follow-up to #27, making better use of the aforementioned revelations and also beginning an intriguing new story arc.

Peter Parker, as written by Brian Michael Bendis, says it best: "I know I tend to say to myself . . . 'Boy, I cannot catch a break.' But boy . . . I cannot catch a break." Spider-Man, after defeating Doctor Octopus, had finally found respect as a superhero, but this issue of ULTIMATE SPIDER-MAN opens with a Spider-Man imposter robbing a bank. Bendis uses this premise, which most closely resembles the first Mysterio story, to establish a larger feel, one of the walls closing in not only on Peter Parker's superhero life, but also his private life. The rift between Peter and Mary Jane, which opened in ULTIMATE SPIDER-MAN #27 but was largely ignored in #28, grows larger in this issue as Peter finds himself increasingly isolated from the one person he can talk to about anything, including Spider-Man. Bendis seems to be leading to the "Spider-Man-against-the-world" theme that has often been present in the mainstream titles, and this is a very welcome path, as the number of people aware of Spider-Man's identity has been becoming increasingly problematic.

As usual, Bendis's dialogue, both external and internal, is quite impressive. His words perfectly capture the logical intelligence of Ben Urich, the single-mindedness of J. Jonah Jameson, the anger and frustration of Mary Jane, and of course the inner conflict and naiveté of Spider-Man. Characters speak with a realistic rhythm and a very engaging beat which allows the words to flow from panel to panel. This is consistent for all the characters, but each character still has his/her own voice. For example, there is a world of difference between the frustration of Peter Parker and the flowing coherence of Captain George Stacy. Particularly interesting about the dialogue is its use in capturing characterization based on what is implied more than on what is said: the argument between Peter and Mary Jane is filled with things that aren't said, as Mary Jane's views are far more clear to the reader than to Peter. Similarly, Spider-Man's confidence in easily stopping the imposter implies a naiveté that is made very real by issue's close.

This issue also includes significant development in the Gwen Stacy subplot, and introduces a new one in Peter's job at the Daily Bugle, but it unfortunately fails to address the revelation that, once he is eighteen, Spider-Man will be owned by SHIELD. In an issue focused on the walls closing in around Peter, thoughts of this would have been perfect, and quite logical, too, as it is a very significant matter. Unfortunately, such thoughts were omitted, and as far as the writing in this issue is concerned, this is the only flaw.

There are no flaws, though, in Bagley's penciling. Amazingly, he seems to be getting even better, as ULTIMATE SPIDER-MAN #29 is filled with clever panels: the Spider-Man imposter is largely covered by a dark shadow in his first appearance, and Peter Parker, feeling closed in, is drawn on an enclosed subway, with shadows in the background. When Ben Urich becomes suspicious of the bank-robbing Spider-Man, the reader sees exactly the small detail he sees. At the end of his argument with Mary Jane, the shadow around Peter closes in. Along with the cleverness is the emotion Bagley always brings to ULTIMATE SPIDER-MAN. It constantly astonishes how much emotion Bagley can put in the characters' eyes alone. As much as the dialogue, it is Mary Jane's eyes that portray her frustration, as it is Ben Urich's eyes that map his changing reactions to the bank-robbing Spider-Man until he realizes that this is indeed an imposter. Because Bagley is a remarkably skilled visual storyteller, every panel says something, and this issue's shock ending is all the more frightening as a result.

ULTIMATE SPIDER-MAN #29 is clearly the foundation for a great new story arc. It is written beautifully and drawn better, as Bendis, Bagley, and inker Art Thibert are at the tops of their respective games. One may wish for the SHIELD storyline to be addressed, but with an issue this good, it is very easy to forget about this plot point for the time being. "Stolen Identity," as with most issues of ULTIMATE SPIDER-MAN stories, is a terrific issue and one well worth picking up.

WAY OF THE RAT #6
Written by Chuck Dixon and Illustrated by Jeff Johnson
Published by CrossGen Comics
Reviewed by Aaron Weisbrod

After six issues of this entertaining new martial-arts based series, I've finally figured out what I draws me this series. Well, actually, there are two things...

The first thing is the main character Boon Sai Hong. A thief of uncertain parentage, Boon is an example of the classic flawed hero used in so many of those Greek tragedies you were forced to read in high school and college. Although Boon was destined by fate to inherit the Ring of Staffs (a magical ring that enables him the ability to masterfully wield a staff in combat), Boon sees this as more of a curse then a blessing. He openly admits that he wants no part of the ring, or this so-called destiny, and that he would much rather live his life of thieving without the hassle ownership of the ring brings to him.

However, that being said, Boon is also a decent person at heart. Sure, he's a thief, but much like the namesake in Disney's "Aladdin" series, he's not a dislikable character. Flawed? Yes. Dislikable? Hardly.

The second aspect of this title that has really won me over is the art. Although Jeff Johnson's artwork originally did little to impress me (aside from his amazing architectural design work), his style has grown on me quite a bit throughout this first story-arc. Furthermore, I have finally begun to be able to appreciate his superb eye for detailing the numerous extended martial-art fight sequences present in each issue. The battle between Boon and the Great Bhuto Khan in this issue, which matches the Ring of Staffs against the Ring of Blades (Boon: "You never mentioned a ring of Blades!" Po-Po: It was not important at the time." Boon: "It's important now!") is handled so well by Johnson (and, admittedly, Chuck Dixon, who likely choreographed the sequences to begin with) that I found myself repeatedly reading the issue just to experience the fight sequence over and over again.

More and more readers seem to be (finally) giving some of CrossGen's books a chance, and books like WAY OF THE RAT help to reward those readers that do so. Although I was never a fan of Dixon before this (although, as I have said in the past, this may have been largely due to my distaste for the Bat-titles), he has really won me over with this first story-arc. I am now more anxious than ever to see where this series is headed, and Dixon's ability to write dramatic stories that feature large casts of characters, combined with Johnson's fantastic artwork, make this a book that continues to get better with each passing month.

If you're looking for a non-sigil-centric CrossGen book to jump into, WAY OF THE RAT is a darn fine place to start...

Looks like WAY OF THE RAT just landed at DreamWorks with Chuck (THE SCORPION KING) Russell directing, and Frank Darabont producing. I’m curious to take a look at the book based on that review, and because this has a shot at being CrossGen’s introduction to the mainstream...