AICN COMICS! GrayHaven Reviews!!

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

This is a monster, with a couple of columns condensed into one, so dig in and start readin’!

Enjoy!

SPIDER-MAN'S TANGLED WEB #20
Written by Zeb Wells and Illustrated by Dean Haspiel
Published by Marvel
Reviewed by Adam Penname

Since its conception, the one thing that has been consistent about SPIDER-MAN'S TANGLED WEB has been its inconsistency. Many of its stories have been average, some have been quite bad, and several have been very good. One of the latter was Zeb Wells's past effort, #12, "I Was A Teenage Frogman," an enjoyable in-depth look at Frog-Man. In this newest story, "Behind the Mustache," Wells repeats his past success and, with Dean Haspiel, turns out another quality issue.

This time, Wells examines the life of one of the most consistently present members of Spider-Man's supporting cast--Daily Bugle publisher J. Jonah Jameson. Jameson has long been a thorn in Spider-Man's side, constantly harassing him through editorials, using his paper to attack the man Jameson truly sees as a menace to society. Why, though, does Jameson act this way? Where does his anger come from? Wells explores this matter quite realistically; the method is nothing groundbreaking, and nothing that hasn't appeared in stories by writers like J.M. DeMatteis in the past, but it is quite plausible and fits Jameson's character. Clearly, Wells has spent quite a bit of time pondering Jameson's past, wondering what could make an otherwise excellent journalist so angry and, where Spider-Man is concerned, irrational, and the effort shows.

"Behind the Mustache" isn't just about Jameson's psychology, though. Long-time readers may have wondered at some point about the mother of Jameson's son John. A significant part of this issue looks at Joan Jameson, how she met J. Jonah and how they fell in love. Considering how Jameson has often been portrayed, it's refreshing to see him written as a well-rounded human character on occasion. This works especially well because Wells juxtaposes it with an exaggerated view of Jameson's anger, painting Jameson's tirades in an especially maniacal light; Jameson's irrationality and humanity come together in this issue to create one whole, and very interesting, Spider-Man supporting cast member.

There is more here than just character development, though. Wells's story is genuinely funny, particularly in interactions between Jameson and his psychiatrist. Part of that is the aforementioned irrationality (which is quite humorous in its own right), but Jameson also displays a clever wit he is often too enraged to show. Many moments in #20 are quite amusing, and extremely enjoyable as a result. The dialogue works similarly; Wells has a knack for flowing language, and complements that with some terrific asides. In general, this issue is a light-hearted one, but with depth. It does have one major problem, though: the twist at the end is quite obvious, and in fact one of the more recognizable formulaic endings. For the most part, this story would be unchanged without that factor, and one wishes Wells had been content to eliminate it. Nevertheless, the writing here is very good all-around.

Dean Haspiel's art isn't quite at the same level. Certainly, it isn't bad, there is nothing terribly wrong with it, but at the same time the images are not particularly engaging. Haspiel's panels tell the story quite well, conveying clear information and adding a good amount of action to a story that has very little. His panel design, too, is quite interesting; Haspiel quite often uses overlapping panels, and also plays with borders and spacing for dramatic effect. At times, the panel work alone is truly creative. However, at the same time, his facial expressions are very limited, and they fail to create the depth or variety needed in Wells's story. Light-hearted though this issue is, it has its powerful moments, but the art does not convey that at all. Part of the problem is that Haspiel's style bears some similarities to Jim Mahfood's; that is, his pictures are cartoony, without being engaging. There is something inaccessible about the work here, and that hinders this issue's flow.

Fortunately, that does not prevent SPIDER-MAN'S TANGLED WEB #20 from being one of the better issues of the series. Wells creates a truly intriguing tale, one almost as good as his past TANGLED WEB story, and one much, much better than his two-part arc in PETER PARKER, SPIDER-MAN. Wells takes over the latter title with #51 for a brief run, and if this issue is any indication, readers have much to look forward to.

BABYHEAD MAGAZINE #1
By Chris Jordan
Published by Slave Labor Graphics
Reviewed by Michael T Bradley

Is this an anthology comic, or is it a magazine? It would seem to be neither, since both imply multiple writers, yet Chris Jordan is pretty much the driving force behind every page presented herein (though he does have an editor).

With an art style that kind of reminds me of a more black-intensive Scott McCloud (from the UNDERSTANDING COMICS days), though I'm certain that must not be his main influence (perhaps THE POWERPUFF GIRLS?), Jordan's art style stays simple and inviting, yet never becomes pedantic.

The "articles" are all over the place - and that's the point, I suppose. There are a plethora of features, including the comic "Zoe the Atomic Twentysomething," a post-superhero tale about the eponymous Zoe and her teenybopper superhero circle of friends, which reads more like an episode of "Saved by the Bell" than a superhero comic. There's also the comic "Trip Hop Supercop Hitachi Bubblegum (featuring Sim-Sim, her flying monkey partner)," an odd blend of DIRTY HARRY and SHAFT ... with a flying, talking monkey.

The mag also includes one-pagers devoted to "Diff'rent Strokes: The Movie," an oddly loving intro to "Degrassi Jr. High," little spoofs of "Where are they Now?" and "Behind the Music" featuring cartoon bands, as well as a page of odd must-see web pages. And, sandwiched in the back, is my favorite section: Hankland, a collection of tiny one-two punch comic strips that take a joke far FAR beyond bad taste, and then generally give it an even dirtier twist for a punchline.

In one comic, you get humor, drama, action, biographies, and a lobster being cornholed by drunken sailors. I don't know if it's possible to ask for anything more than that package. All lovingly drawn by Chris Jordan, this is a grab-bag mix of obscure '70s television references and modern stereotype humor, yet it always has such an ... innocent ... feel about it, that it doesn't come close to offending.

Reasonably priced for a magazine or a comic, this odd little concoction is definitely worth checking out.

MIDNIGHT, MASS. #8 (OF 8)
Written by John Rozum and Illustrated by Jesus Saiz with Jimmy Palmiotti
Published by DC/Vertigo
Reviewed by Michael T Bradley

And so we come to the end of the saga that is MIDNIGHT, MASS., and the only thing I can think to ask is: why is this a mini- and not an ongoing series? It's certainly written as if it's the beginning of a regular series; by the end of it, we have the main characters introduced and their backstories explored just enough for the rest of the series to build off those strong foundations, but we haven't really gotten into the meat of much beyond that, and the ending almost screams to have, "Join us Next Month When ... !" plastered over it.

John Rozum seems ready to write more. He's obviously comfortable writing the intriguing pair of Adam and Julia Kadmon, the paranormal investigators who call Midnight, MA, home. Their loving-yet-constant bickering is a delight to read. He's great at writing Jenny, their not-so-innocent young assistant, whose backstory desperately needs more exploration. He's good at all these things, and the ending seems eager for more, so why a mini?

Jesus Saiz's art is quite beautiful, especially with Palmiotti inking it and smoothing out some of the overly-angular bits. His characters are easy to tell apart (which you wouldn't think should even be a possible problem, but often Vertigo will go for "style" over "interpretability"), and the story flows smoothly. Visual jokes play out well, and the art reflects the easygoing yet off-kilter mood of the writing.

Okay, I'll admit, I didn't like the Tomer Hanuka covers, but I didn't MIND them, either.

I guess as a John Rozum fan, I should be used to this frustrated feeling. I remember when XOMBI was cancelled, the feeling of loss at all those great little bizarrities that I wouldn't get to read about again ... the knowledge that Rozum had the damn thing planned out for over five years of its run ... the pain at seeing such a great title flounder for its final issues, trying desperately to tie up dozens of loose threads and for the most part succeeding ... all this I dealt with once, but it was worth it.

When I saw that MIDNIGHT, MASS., was a PLANNED mini, I thought, "Well, that's good. No matter what, this will be a COMPLETE story." But the eight-issue arc read like a slightly-extended pilot for a television show, just priming the pump for more greatness to come.

Here's hoping the next couple of years see more of MIDNIGHT, MASS., or at least more from John Rozum.

X-STATIX #5
Written by Peter Milligan, Illustrated by Paul Pope
Published by Marvel Comics
Reviewed by Michael T Bradley

During Milligan's run on X-FORCE, I actually felt FRIGHTENED to read each issue, because I liked the characters so much yet there was such a high mortality rate that I never knew from one issue to the next if my favorite character would still be there or not. Not that I HAD a favorite character, mind you - I loved them all, even the one-issue guys like Bloke - but still.

Now that the first story arc of X-STATIX is done, I'll admit I don't feel frightened anymore - now that Peter has "done the deed" and killed Edie, there's a sense that no other members of the team will be dying in the near future (if you don't count Arny's death in this issue, and I don't think you can) - but rather, I feel a bit dizzy.

X-STATIX has always existed both as superhero comic and as cultural criticism, but now it's gone BEYOND that. With its current storyline about a fanboy obsessed with X-STATIX, it's become superhero comic, cultural criticism, and critical criticism. Somewhat like book reviews of criticism (or, I suppose, reviews written about comics that exist as criticism on its own criticism ... now if only someone would review my review ...). Arny's obsession with the fact that The Orphan let Edie die is exactly how many fans responded: "how could you?" "she was my favorite," etc. We no longer even NEED to respond to this comic; it does that for us.

Peter Milligan is slowly but surely blending the real world into the comic world, but not slowly and insiduously - rather it is in giant, bloody chunks that he's ripping one out and transposing the other. By now I'm already having a difficult time distinguishing between Spike, the team's leader who orchestrates seemingly everything, existing mainly to prod the team members into acting so that it advances the plot, and Peter Milligan - because, after all, isn't that essentially Peter's job, too? And I suppose the artist would have to be Doop, the one recording everything for posterity, brought in by Spike/Milligan to represent events for us, the viewing audience (who are represented by ... the viewing audience).

Not since Grant Morrison turned ANIMAL MAN into a commentary upon superhero comics, their trends and their failings, have I felt so confused about the border between the gutter and my living room. Not since ANIMAL MAN have I honestly wondered if I really COULD influence the characters' lives, or vice versa.

I could comment on how deftly Milligan has turned the majority of X-STATIX from callous youths into unsure well-rounded characters, or on how he's turned Orphan / Mr. Sensitive / Guy Smith from a depressed rejected hero into an apparently remorseless murderer, or on how Michael Allred's art is beautiful and amazingly well-thought out as always, and the fill-in artists every few issues are obviously giving their all to live up to that legacy (like Pope here or Fegredo on X-FORCE 128).

But that stuff's all obvious. Of course the writing and art are top-notch. These guys are pros. But the fact that they're doing all this AND making it a meta-comic-commentary upon meta-commentaries is utterly flabbergasting.

It's a dizzying ride. Come take a spin.

MY MONKEY'S NAME IS JENNIFER #5
By Ken Knudtsen
Published by Slave Labor Graphics
Reviewed by Michael T Bradley

Finally, the pirate story arc wraps up. Though I love MMNIJ no matter what, I've never really found pirates half as interesting or as amusing as Ken Knudtsen obviously does, and I've always hated characters who speak in rhyme (yes, even when Neil Gaiman did it in SANDMAN).

What's kept me reading and enjoying every page and panel of MMNIJ, though, is Jennifer, of course. Jennifer is still the same hateful carmudgeon he always was, and as I've said before, it might be a one-joke comic, but godDAMN the joke is funny (even Jennifer's rhyming-narration is funny. "the pirates came we went with them / stupid fish just bit my abdomen").

You can never really tell what's coming next in MMNIJ, and that's why it's so much fun to read (in this issue we get a monkey riding a dolphin and pirates running out of ammo and firing rats at the enemy, among other things). Until I got to the end of this issue, I'd forgotten that Jennifer and Kaitlin (Jennifer's human owner) got to the pirate adventure through Kaitlin's bathtub, because, as odd as that situation sounds, it just seems perfectly normal in the MMNIJ universe. Hell, EVERYTHING seems perfectly normal in the MMNIJ universe. Which makes me think I quite prefer that universe to ours.

Oh, and Jennifer finally got to bite someone this issue, so huzzah for that.

Knudtsen's art is growing on me. Though it's always worked as far as style and conveying action, I think he's really coming into his own as far as subtle emotional shifts and differing expressions (I love the next-to-last panel of Kaitlin, all grumpy). His artwork took a while to grow on me, but now I can't think of Jennifer looking any way else. There's just something NECESSARY about Knudtsen's frenetic jagged lines when Jennifer chases someone.

MMNIJ makes me laugh out loud, and that's a damn rare accomplishment for a comic book. Check it out. Arrr.

Gotham Central #1
Written by Ed Brubaker & Greg Rucka and illustrated by Michael Lark
Published by DC Comics
Reviewed by Todd Casey

Crime books have flourished in the past years, partly because it has become more acceptable to have comics sans costumed heroes. This environment has finally made a simple concept like GOTHAM CENTRAL marketable. The story revolves around the Gotham City Police Department and how they deal with super-criminals.

The story begins with two detectives who follow-up on a lead on a kidnapping that unexpectedly brings them come face-to-face with Mr. Freeze. Needless to say, the two cops don't fare as well as Batman would have when confronted with a freeze-ray and the consequences are fatal for one officer. With one of their own officers having fallen, the G.C.P.D. has a vested interest in catching Mr. Freeze -- a task that would normally be left to Batman. While there is reverence for Batman, the officer's pride prevents them from dumping Freeze onto the caped-crusader. Now they must catch Freeze before he kills again and before Batman takes over.

Brubaker and Rucka are a dream-team on this book. Both writers are at home writing the stories of Gotham City. Having two writers on a book can pull it in opposite directions and interrupt the flow, but these two blend seamlessly. Brubaker's adeptness at writing gritty crime stories and Rucka's characterization and ear for dialogue intermingle to craft a tale with both believable characters and dramatic action. They are also exploring a side of Gotham that regular Batphiles don't often get to experience.

Batman collaborated with Commissioner Gordon and various detectives in the past. Other writers have explored the animosity between the police department and Gotham's infamous vigilante, but Brubaker and Rucka are giving a look at the G.C.P.D. without Batman. They show the police to be appreciative of Batman's aid, but also somewhat bitter about the fact he solves their unsolvable cases - that he effectively upstages them. With one of their fellow officers dead, the detectives want to track down Mr. Freeze on their own and request that Batman's assistance not be solicited. For them it is about pride, and for Detective Marcus Driver, it is about catching the man who iced his partner.

Michael Lark's pencils are somewhat reminiscent of the old pulp detective stories with a little more grime and expression added. His facial expressions are emotive and most often pained, livid, or bitter, but also sympathetic or morose. Even without meticulous detail, Lark still manages to be expressive.

As a straight Gotham crime book, this book will need strong characters to survive. If Brubaker and Rucka continue to dip into the city's extensive rogues gallery, the villains' strength alone will be enough to drive the stories. This book is a funny contrast to the 1960s Batman TV series where the inept Chief O'Hara and Commissioner Gordon turned to the dynamic duo every time someone jaywalked. The cops in GOTHAM CENTRAL are committed to doing the best they can on their own even they put themselves at risk.

UNCANNY X-MEN #416
Written by Chuck Austen and Illustrated by Kia Asamiya
Published by Marvel Comics
Reviewed by Aaron Weisbrod

Chuck Austen's UNCANNY X-MEN has really come into its own over the past few months.

While Grant Morrison's NEW X-MEN maintains a frantic pace in which "mad ideas" and extreme melodrama are the flavor of the month, Austen's UNCANNY offers readers an X-book that is a little more subtle, heartfelt, and... quaint.

Issue #416, titled "Living in a Mansion," is a stand-alone issue about that focuses on, as the title suggests, how living in a mansion has affected the lives of several of the members of UNCANNY's large and varied cast.

Personal relationships are explored here more so than uber-action or high concept mutie-babble, and the result is a cast that is continuing to develop and become more and more three-dimensional issue after issue.

Whether it be in the opening sequence in which Bobby "Iceman" Drake accidentally lets his true feelings about the expansion of the X-men team slip to Kurt "Nightcrawler" Wagner; during the brief but humorous and heartfelt conversation between the Xavier Institute's school nurse Annie Ghazikhanian and Northstar; or through the epiphany experienced by Cain "Juggernaut" Marko while reflecting with the young Sammy "Squidboy" Pare, UNCANNY X-MEN seems to be positioning itself as the "Yang" to NEW X-MEN's "Yin"... and it's a better book because of it.

Sure, NEW X-MEN can be great, especially when Morrison pulls in the reins on himself and decides to tell well-paced stories that reflect a writer of vision and passion (rather than those of a speed-freak who's having a hard time keeping his thoughts and ideas straight), but UNCANNY X-MEN is slowly gaining ground on its much-ballyhooed sister-title with patient pacing, solid character development, and stellar artwork by "newcomer" Kia Asamiya.

Ahhh yes... the artwork.

Although I was sick of seeing the same few preview pages in every book published by Marvel over the last few weeks, I must admit that, upon seeing a full example of his work in this issue of UNCANNY X-MEN... I'm impressed.

Honestly, manga or anime styles of art usually do little to win me over, but Asamiya's artwork works surprisingly well for this title (pointy noses and all). His impeccable senses of character and layout are both refreshing and exciting, and his work has that unpinpointable "it" factor that, when combined with Austen's writing, just clicks. In fact, this combination of character-driven stories combined with anime-style artwork may quickly draw numerous (and much needed) young female fans into the X-fold if Marvel takes the initiative to market this title properly.

Although the initial re-launch of UNCANNY X-MEN a la Joe Casey soon degenerated into a flop, the synergy brought to this book by Austen and Asamiya makes UNCANNY X-MEN #416 a "can't miss" issue. In fact, if this duo continues the trend of excellence that has been started with this issue, UNCANNY X-MEN may soon become the flagship title of all X-dom...

GLOBAL FREQUENCY #2
Written by Warren Ellis and Illustrated by Glenn Fabry
Published by Wildstorm Comics
Reviewed by Aaron Weisbrod

My comic buddies and I have recently been discussing the difference between "Science Fiction" and "Sci-Fi."

Apparently, unbeknownst to me when this topic originally arose, there is quite a profound difference between the two.

According to those amongst our small crew who are connoisseurs of this genre, Science Fiction is fiction that employs real science as a basis for the story. Sci-Fi, on the other hand, simply makes-up crap as it goes along. Amongst those who derive a good deal of pleasure from exploring this aspect of the fantasy genre, the difference is a profound one.

I guess, in a round-about way, Science Fiction stories can almost be real, and that may very-well be part of the appeal that makes such works good; unlike Sci-Fi, which is complete and utter fantasy that bends the laws of physics and reality for the sole purpose of deus ex machina and out and out convenience.

All of this leads me to GLOBAL FREQUENCY #2, a fine example of a solid Science Fiction story from (self-admitted Science Fiction fan) Warren Ellis.

Illustrated by Glenn Fabry (Marvel Max's HOWARD THE DUCK, cover artist for PREACHER), GLOBAL FREQUENCY #2 pits a small entourage from Global Frequency (an independent civilian crisis intervention team comprised of 1,001 sleeper agents across the world) against a five hundred million dollar mechanically-enhanced super soldier who has gone mad after, as one character snidely remarks, "some damn fool let him look in the mirror."

If the five-man team from Global Frequency fails to stop the "enhancile" from leaving the research facility in which he is currently trapped, it is estimated that he will kill two hundred thousand people in nearby L.A. by sunrise. If he escapes the facility, the U.S. government will drop a nuke on the site, which will in turn kill an estimated two hundred thousand people in nearby L.A. Furthermore, the enhancile himself is powered by five small nuclear generators, and if any of them explode, well...

No pressure, right?

Ellis and Fabry have done a masterful job creating and telling this tale, combining the claustrophobic atmosphere of the film Aliens with the race-against-the-clock pace of 24 (which is, hands, down, the best show currently on non-cable television, natch). The end result is a chilling and horrific tale that pits GF in a seemingly no-win and time-sensitive situation. It's a nice piece of work that perfectly plays to Ellis' strength of turbo-charged action (one of his strengths that is oftentimes overlooked in lieu of his other more-oft discussed devices) as well as Fabry's ability to illustrate characters that range from beautiful to horrifying all in one cohesive story.

So far, in two issues GLOBAL FREQUENCY has offered readers two stand-alone, albeit connected, stories; two phenomenal "name" artists; two intriguing and scientifically sound (as far as Science Fiction goes) threats; and two examples of worthwhile reading that contain no sign of spandex or superpowers.

If you're looking for a series that will prove to your friends and family that comic books are capable of more than stories about power-fantasy trips and men in tights, GLOBAL FREQUENCY may very well be your Holy Grail. Wait for the TPB if you must... but I'm afraid that, having read these first two issues, I may no longer be able to hold out that long.

Queen and Country: Declassified #1 (of 3)
Written by Greg Rucka and Illustrated by Brian Hurtt
Published by Oni Press
Reviewed by Todd Casey

The 007 movies were always the best during the Cold War because, even if it is no longer P.C. to say so, Communists made the best villains. The C.I.A., MI6, and the fictional S.I.S. are all Cold War intelligence groups and the most interesting stories pit them against their Russian counterpart, the K.G.B.. Rucka jumps back in time in order to take his characters through this fascinating period of history.

DECLASSIFIED takes place 16 years prior to current QUEEN AND COUNTRY continuity. Paul Crocker is a rookie on the S.I.S. Special Section with the designation "Minder Three." Crocker and his teammate, Wesley Hardgreaves (Minder Two), are both bumped up a position when Lindsay Mills, the seasoned S.I.S. veteran and Minder One, dies in the line of duty. Crocker is newly married to Jenny, who knows what line of work her husband is in, but has no inkling of how close to death it brings him on a weekly basis.

Rucka offers a lot of tension when Crocker is in action, but also while he is at home with Jenny. She is frustrated by the fact that he is constantly being shuttled about Eastern Europe and never able to spend time with her. The conflict between Jenny and Paul is almost as engaging as the conflict between the S.I.S. and the K.G.B.. The exposition is gentle and, rather than laying everything out in the first few pages, Rucka drops details throughout the story. By the end of the story, the picture of what is going on is complete, but the explanation is subtle all the way through.

Rucka includes a few silent pages for Brian Hurtt to show off his story-telling skills in the climax of the issue. The inking is sparse on most of the book, leaving the focus on the dialogue. Although once I finished the issue, I flipped through again and realized that Hurtt's visuals were strong enough so that I could have gotten 90% of the story even if it was written in Czech.

Rucka writes great espionage, but he also writes well-rounded characters. QUEEN AND COUNTRY is almost like a Bond movie, except it could actually happen. Crocker isn't a Martini-swilling Gigolo who thwarts plots to take over the world in $150,000 cars with cool gadgets. Crocker is a real person, and so is everyone else in QUEEN AND COUNTRY. Rucka resists the temptation to use the unlimited budget of the creative artist's pencils to show over-the-top chases, shoot-outs and explosions. Instead, he and Hurtt put together a realistic and well-drawn story that reads like it was lifted right out of declassified MI6 files.

REPORTER #1
Written and Illustrated by Dylan Williams
Self Published
Reviewed by Michael T Bradley

I don't know how else to say it: REPORTER is an odd little fellow.

For the most part, its 24 pages consist of Adam Jones (a frustrated writer) and Ivar Diehl (a chronicler of ... EVERYTHING) sitting around in a diner, talking about what they're trying to accomplish. At one point Adam launches into a story he's working on (which he just bought from "a bandage guy"), but it doesn't really seem to lead anywhere - which Ivar points out when he says, "It wasn't really worth getting roughed up for, was it."

Throughout the book, there are hints of a bigger picture, and apparently Dylan Williams is painting the portrait of their town (Willoughby) in one-shot comics, piece by piece. I'm definitely curious enough to order the other one-shots he's put out (about a half-dozen so far).

The art style is very sketchy, very "underground," but not simplistic, and light and shadow is used far better here than in many high-dollar books.

Honestly, I don't know what else to say about this book since nothing much HAPPENS, but it did pique my interest, and if you like tense yet relaxed stories about interesting people, this is definitely a book you should pick up

THE AMAZING SPIDER-MAN #47
Written by J. Michael Straczynski, Penciled by John Romita, Jr., and Inked by Scott Hanna
Published by Marvel
Reviewed by Adam Penname

Traditionally, anniversary issues like #50 or #100 are special. Such an issue will often see the conclusion of a long-running, powerful storyline, much like the one currently in progress in AMAZING SPIDER-MAN. If #50 is the conclusion of Straczynski's controversial spider-totem storyline, which it may or may not be, then presumably #47 has taken the first steps towards the climax--and what wonderful first steps they are.

Picking up from last issue's ominous ending, Straczynski creates the feel here not of the walls closing in, but the walls crashing down, or caving in. The Spider-Man titles have a history of storylines in which his reputation is damaged in some way, but never like this, never in a way that seems so emotionally painful for the character, and rightly so. This is the ultimate psychological blow in the modern age of media, but even more impressive than its execution (which is realistic and tasteful) is its aftermath. There is some subtlety in the writing in the second half that may not be immediately evident, but is really quite remarkable and haunting; for the first time, readers see the spider taking control, and it is a frightening thing to behold, all the way up to the terrifying conclusion.

With his complete understanding of the characters, Straczynski uses them perfectly in this terrible situation. Peter Parker's responsibility as a teacher shines through, as does Spider-Man's as a hero when he realizes what instinct has done. Shathra, the spider-wasp, is written with a twisted evil about her; what separates this from typical twisted evil characters is that at the core of her character is pure instinct, and that's an interesting concept. Mary Jane appears in this issue as well; her reactions fit the situation very well, with an emotional response that somewhat mirrors Spider-Man's own. Although briefly, readers even get some nice characterization with the Fantastic Four (in a quick cameo), J. Jonah Jameson, Kyle Jacoby, Joey, and Ezekiel; the latter two are even further developed, despite their relatively fast appearances.

Joey, the nerdy kid from AMAZING SPIDER-MAN #30, is an example of the factors that make this issue truly and completely well-rounded. Although for only a few pages, Peter appears as a teacher, and a good one, in a way that had not been shown previously. The result of the focus on the new job and civilian life Peter has adjusted to is a great feeling of alarm and tragedy when everything tumbles. The epic story is growing here, the stakes are high, and getting higher.

The drama and intensity of this issue are conveyed beautifully through some typically excellent work from John Romita, Jr. AMAZING SPIDER-MAN #47 doesn't call for as much variety as other recent issues (no alternate dimensions or dream worlds), Romita, Jr. still shows off his remarkable talents in remarkable ways. Action and calm are handled with equal skill; scenes at the school show a sense of peace, however briefly, while the battle with Shathra is massive and powerful, with the readers thrown right in the middle. Shathra as a character is as frightening as in last issue, with Romita, Jr.'s dark design providing the perfect amount of fear and intimidation necessary in the character, all the while creating the appearance of one who is driven more by animal instincts than anything else. Other characters are driven by more, though, and their emotions are rendered wonderfully: anger, hatred, grief, fear, joy, and desperation all come to the forefront. Equally impressive is the issue's close, where Romita, Jr. performs some moment-to-moment transitions eerily reminiscent of FEARFUL SYMMETRY: KRAVEN'S LAST HUNT.

Amazing though it may seem, the spider-totem storyline keeps getting better and better. Certainly these stories are out of the ordinary for Spider-Man, but Straczynski, Romita, Jr., and Hanna have done a wonderful job at creating a great epic tale of Spider-Man, in over his head. If #50 is the conclusion, it promises to be something truly special.

SPIDER-GIRL #53
Written by Tom DeFalco, Penciled by Pat Olliffe, and Inked by Al Williamson
Published by Marvel
Reviewed by Adam Penname

In a world of multi-issue story arcs and epic adventures, SPIDER-GIRL is a relic in the best possible way. The book's loyal fan base emerges partially due to the qualities that liken it to an earlier time-complete stories in single issues, engaging and developing subplots, and likeable characters who readers can relate to. SPIDER-GIRL has consistently been a quality book from #1 (or #0), and #53 is another great addition.

Taking a route that has only recently developed in this book, DeFalco deviates from his second-person narration for May to add third-person narration for a different character-in this case, one readers haven't seen before, Meagyn Brady. Focusing on other characters to gain an outsider perspective is nothing new; in fact, SPIDER-GIRL #51, written not by DeFalco but by Sean McKeever, did something very similar. DeFalco makes it special, though, developing Meagyn into a fully-rounded character in just the first page, creating someone readers immediately genuinely care about-no simple task. In many ways this is Meagyn's story, and by the end of the issue it is a rather painful and disturbing one, which is a noticeable change of pace for this book. It is unclear at this point if Meagyn will reappear later, of if she was just introduced for a single, tragic, off-beat tale; either way, she's a wonderful character and a welcome addition to the SPIDER-GIRL world.

Never content to have just one focus, though, DeFalco includes May Parker's story, as well, which is more typical for SPIDER-GIRL. #53 introduces a new villain, Quickwire; he is not particularly new, original, or dangerous, but he really doesn't need to be, that's not the point. An essentially run-of-the-mill criminal is all that is needed for DeFalco to push his story forward; Quickwire provides an adventure for Spider-Girl, leads to an interesting development in the Felicity Hardy subplot, and also plays an essential role in Meagyn's story. This issue also sees development in the subplots involving Courtney Duran, Brad Miller, Jack Jameson, Kaine, Alison Mongrain, and Mary Jane. It is truly amazing how DeFalco manages to develop all of this without the issue feeling convoluted or confusing. Last issue actually did suffer from that problem, so it is good to see DeFalco back to his usual quality.

Oddly enough, one of the most interesting features in this issue is the premiere of the recap page, something that started in Marvel's Ultimate books and is now stretching into other Marvel titles. DeFalco takes what could be a fairly methodical, technical recap and turns it into a reflection in Spider-Girl's voice. Because it's a designated recap it doesn't feel like exposition, but because it's in the second-person Spider-Girl voice it continues to feel like a part of the story. DeFalco has never really needed a recap page, as he handles his subplots better than almost anyone, but he employs it here to great effect.

SPIDER-GIRL #53 is a complete package, and naturally that includes art as well. Pat Olliffe's work in this issue is excellent, from the first page on. The first page, consisting of three vertical panels, are every bit as important as the writing in depicting the character of Meagyn Brady; great though the words are, Olliffe's clever, emotional panels give readers all the needed information. In fact, several of Olliffe's panels are key in depicting Meagyn's strong emotions. Meagyn's beaming face tells far more about her joy than the words on the page, making the last page, which mirrors the first, truly tragic. Scenes with Quickwire are equally impressive; Olliffe's costume design is clever and engaging, and Quickwire is often placed above the readers' focal point. This creates the impression that Quickwire is actually jumping over the readers, placing them right in the middle of the action. And then, of course, there is what Olliffe brings to the book on a monthly basis: a great sense of visual storytelling, pencils for every occasion.

If there was any doubt after the relatively weak #52, it has been erased--SPIDER-GIRL is as great as ever. DeFalco, Olliffe, and inker Al Williamson have turned out one of their more interesting efforts here, and this one is absolutely worth picking up.

PETER PARKER, SPIDER-MAN #50
Written by Paul Jenkins, Penciled by Mark Buckingham, and Inked by Wayne Faucher
Published by Marvel
Reviewed by Adam Penname

PETER PARKER, SPIDER-MAN #50 is, in several ways, a very important issue, even without considering the content of the book. It is, of course, a landmark, an anniversary issue, and is accordingly double-sized. #50 also marks Mark Buckingham's last issue of PETER PARKER, SPIDER-MAN, or of any Spider-Man title, for the foreseeable future; Buckingham joined the title at #20 with writer Paul Jenkins, and has penciled a total of twenty-two issues, including this one. At the same time, Jenkins and Wayne Faucher will not be seen for a bit, either; next issue begins a brief run by Zeb Wells and Francisco Herrera, and according to the latest rumors Jenkins won't appear again until the new SPECTACULAR SPIDER-MAN #1 emerges. Jenkins and Buckingham have turned out one of the best Spider-Man runs of all, and PETER PARKER, SPIDER-MAN #50, entitled "And Here, My Troubles Begin . . .," is an excellent conclusion.

In AMAZING SPIDER-MAN #38, Peter Parker and Aunt May discuss Peter being Spider-Man for the first time, but the relevant issues are numerous, and naturally all the answers could not be revealed in one conversation. Jenkins picks up where J. Michael Straczynski left off, in an issue containing several interesting, emotional, funny, and relevant conversations between Peter and Aunt May, as the latter tries to come to grips with the fact that Peter Parker is Spider-Man. The topics are wide-ranging and continuity-relevant; the Spider-Man continuity-based fans should love this issue accordingly, particularly the portions that specifically deal with Aunt May's relationship with Doctor Octopus. But the central focus of the conversations, and in fact the issue as well, is far more serious and quite interesting too: after all this time, who is Peter Parker, really? Does Aunt May know? Does even Peter know?

To make the whole picture clear, Jenkins includes in this issue a particularly amusing background story, in which Spider-Man deals with Hammerhead, the Rhino, the Uber-Machine, and armed gunmen of every race and ethnicity. The battles work as a wonderfully humorous satire, representative of the insanity Spider-Man has to deal with on a daily basis. Jenkins writes Spider-Man at his funniest, with several laugh-out-loud moments; even better, he includes French criminals riding bicycles and launching baguettes. There is nothing more immediately absurd and surreal than French criminals riding bicycles and launching baguettes. It's even more fun than the Mime Gang. The humor and absurdity present throughout this issue balances well with the emotional moments between Peter and Aunt May; readers gain a full view of Peter's everyday life, which is the very thing Aunt May is trying to achieve. The only thing missing here is development of Flash Thompson subplot, which is mentioned but not used in the course of the story.

Penciler Mark Buckingham, in his final appearance on PETER PARKER, SPIDER-MAN, does an excellent job at rendering this multi-faceted issue. Scenes jump between casual civilian life, dramatic conversation, action, and absolute absurdity, and Buckingham proves himself capable of rendering virtually any situation. This issue even contains a few tributes to past AMAZING SPIDER-MAN artists; past panels by Steve Ditko, Gil Kane, John Romita, Ross Andru, and Frank Giacoia are lovingly imitated in the several flashback scenes that occur throughout the book. The manner in which Buckingham is able to briefly alter his style to pay tribute to artists past is quite impressive, and quite respectful as well.

Just the same, Buckingham has done better. Past issues have seen Buckingham display some clever originality, in dark flashback scenes and interesting collages; this issue has none of that, and is far more straightforward. Also, one panel with Aunt May seems to include a straightforward mistake that was somehow missed. Still, this issue is a great swan song for Buckingham, and he will be missed.

Although there have been better issues in the course of the Jenkins/Buckingham run, PETER PARKER, SPIDER-MAN #50 truly is something special. For all its focus on the past, this issue truly seems like a new beginning, something Jenkins, and maybe Faucher, will most likely continue with when they returns to a Spider-Man title in some months. The title, and Jenkins's future work, will be quite different without Buckingham's cartoony appeal, and one can only hope that someday, he will return to Spider-Man.

ULTIMATE SPIDER-MAN #31
Written by Brian Michael Bendis, Penciled by Mark Bagley, and Inked by Art Thibert
Published by Marvel
Reviewed by Adam Penname

ULTIMATE SPIDER-MAN #31, part 3 of the 4 part Spider-Man Imposter storyline, succeeds in raising the stakes dramatically and turning this into a much more powerful, and much more significant, tale. At the same time, it is weaker than other more recent issues, losing much of the thematic significance of its predecessors and revealing one of the few recurring problems of this series.

For the most part, Brian Michael Bendis's story is quite good. Picking up where last issue left off, #31, titled "Black Van," realistically shows Peter's continuing trouble dealing with his gunshot wound, although this takes up rather little time. The vast majority of the issue deals with a very surprising and shocking plot point, one that comes completely out of left field and promises to significantly alter the dynamics between Peter, Mary Jane, and Gwen Stacy. As such, it is an excellent development, an original variation on a classic Spider-Man story with dramatic repercussions; unfortunately, it also comes in far earlier than its AMAZING SPIDER-MAN counterpart. Readers have much less of an emotional connection to the involved characters, especially considering the rather small number of appearances of one of them, so the occurrence in question is not nearly as powerful as it could be. It's interesting, but it's not emotionally involving, and the issue is damaged accordingly.

Emotion is not the only thing missing from this issue; the past few issues have focused on the walls closing in on Peter, and on his isolation in a Peter vs. the World dynamic. This growing feeling has been essential in counteracting the fact that far too many people in the Ultimate universe know that Peter Parker is Spider-Man. Unfortunately, in this issue, not only is there no development on the idea of Spider-Man's ruined reputation, but the schism between him and Mary Jane has temporarily vanished. To make matters still worse, a guest star enters the book with full knowledge of Peter's identity, yet another reminder of how many people seem to know.

Still, ULTIMATE SPIDER-MAN #31 is excellent in the areas where Bendis always shines. His dialogue is human and flowing; whether in the lull before the storm or in the face of tragedy, his words are perfectly natural, some of the best dialogue in comics. The pacing in this issue is quite remarkable, as well; Bendis has a way of extending emotional moments, increasing their power. Really, this issue is still a very good one, and an entertaining read; it simply has more flaws than readers have come to expect from this title.

Fortunately, Bagley's work is typically flawless. His panels emphasize the import of the issue's action as it occurs; more importantly, though, Bagley is responsible for what emotion does exist in this issue. The emotions depicted on his characters' faces, the anger and hysteria resulting from tragedy, emphasize the significance of this piece, even if it's not a significance the readers would feel otherwise. Furthermore, Bagley plays a rather important role in moment extension, as well; his use of uniform panels for moment-to-moment pacing enhances the drama and emotion, vastly improving the issue's overall quality.

And this is a good issue overall; very good, even, considering how much Bagley's pencils and Art Thibert's inks bring to the mix. It could be a lot more, though, and hopefully next issue will bring back the themes of isolation essential to this story arc.90

ROUTE 666 #6
Written by Tony Bedard and Illustrated by Karl Moline
Published by CrossGen Comics
Reviewed by Aaron Weisbrod

About a week or so back I posed a hypothetical question to some of my comic-reading friends: "I'm looking for a comic book I can show to my parents in order to display that not all comic books are 'kids' stuff.' The criteria is that the book must be a long-form or continuing story, it must be in color, it must not contain any spandex or costumed superheroes, and it must not contain any profanity or nudity."

Honestly, I was fairly stumped when I asked the question. When I first posed the question to myself I could think of a few scant books that met the criteria. Sure PREACHER is great, but I think it would be too extreme for my folks. HELLBOY meets the criteria, but all of the Lovecraftian-stuff would probably fly right over their heads. LEAGUE OF EXTRAORDINARY GENTLEMAN: VOLUME ONE could probably be squeaked through the criteria (if the rape sequence Chapter Two is ignored), but again, I think a lot of the story's charm would be lost on them due to a lack of familiarity with the Victorian-era cast.

Sure, there are a lot of great "non-superhero" books out there by some of the "smaller" publishers (Top Shelf Comix, Fantagraphics, Dark Horse's LONE WOLF AND CUB), but most of them are published in black and white... and the sad truth is that getting people to read black and white comics is just as difficult as getting people to watch black and white movies... if not even moreso!

Alas... this was a toughy.

Then it dawned on me: CrossGen Comics.

Longform stories? Check. Color? Check. No spandex or superheroes? For the most part that's a check No profanity or nudity? Check.

Hot damn... we have a winner!

Mind you, I don't read all of CrossGen's books, nor do I suspect that the editorial powers that be at CrossGen publish such a wide range of books with the intention of everyone reading every one of them. (Although, as a bonus, there is apparently some sort of "Master Plan" that perceptive readers of all twelve books can pick-up on if they study the titles closely enough.) After all, CrossGen publishes comics that range from science-fiction to Victorian-era mystery to martial-arts action to a samurai epic to horror... and several of their titles have yet to include the infamous "sigil" that seems to scare away so many potential readers.

All of this, in a round-about fashion, brings me to ROUTE 666.

ROUTE 666 chronicles the adventures of Cassie Starkweather, a college student who, since a young age, has had the ability to see ghosts and spirits. Concerned that her "delusions" were getting the better of her, Cassie's parents sent her to a battery of psychologists who eventually convinced her that the spirits she was seeing were not real.

The next several years of Cassie's life were happy and normal until, due to her involvement in a freak accident, her best friend was killed in a particularly gruesome manner. To make matters worse, that night her best friend's ghost came to her pleading for help only moments before being literally "spirited away" into another dimension by two evil ghosts.

Freaked out, Cassie told her parents what happened, and they responded by committing her to a mental hospital. Once there, Cassie discovered that numerous members of the hospital's staff were in fact monsters who were in league with the evil ghosts who abducted her best friend. Aided by the Too-Too (the ghost of her favorite grandfather) Cassie escaped the hospital, killing several of the beastly "doctors" in the process.

Now four states away from the scene of the crime Cassie finds herself hunted by a federal agent who happens to be none other than the son of one of Cassie's first "victims." To make matters worse, she has also recently taken on a partner who, unbeknownst to her, is a wanted serial killer.

Some people just can't catch a break, can they?

Although this issue has been surprisingly horrific (in a good way) since its debut, Issue #6 continues to seep deeper and deeper into a truly chilling maelstrom of both psychological and physical terror. Although Cassie is undoubtedly the "good guy" of this tale, as the story continues to progress Cassie's actions slowly falling into more of a gray area of morality. Mind you, she's beginning to uncover what could very well be a global-wide extra-dimensional conspiracy... but none the less, all of the murders and death she has been a part in such a brief window of time are already starting to take its toll on her.

At one point in the story Cassie simply falls to the ground, covers her ears, closes her eyes and simply starts pleading with anyone who may be listening to let all of this madness end, and it's a very touching moment that brings a lot of humanity to the character. As a reader it was refreshing to see a "hero" express very realistic vulnerability in the face of such reality-bending circumstances.

However, as good as Bedard's writing is, it is Karl Moline's art that continues to push each issue of this series to its maximum potential of excellence. His ability to display emotion through facial expressions puts him on par with Steve (PREACHER) Dillon and Mark (ULTIMATE SPIDER-MAN) Bagley in this regard, and if his art continues to exponentially improve issue after issue as it has done to date, Moline may soon become of my favorite current comic book artists.

No spandex, no profanity, and solid and engaging story with great art... what's not to appreciate in this book? In fact, I plan on stopping over at my parents' house later this afternoon... I think I'll bring the first six issues of ROUTE 666 with me and leave them on their coffee table. My mother has always wondered what it is about comic books that appeals to me, and this book currently exemplifies everything that makes comics great. Besides, like me, she is also a fan of scary movies, and ROUTE 666 is, quite simply, the best horror movie ever put on paper.

NEW X-MEN #134
Written by Grant Morrison and Illustrated by Keron Grant
Published by Marvel Comics
Reviewed by Aaron Weisbrod

For the first time in a long time I'm excited about NEW X-MEN again.

I realize that this title is a critical darling of much of fandom (with the possible exception of the inconsistent artistic rotation), but... I dunno... it just hadn't been doing anything for me as of late... until this issue.

Issue #134, the prelude to the much-hyped "Riot at Xavier's" storyline, focuses primarily on Quentin Quire, a pompous, angry, and nerdy young mutant with "super intelligence" who is becoming increasingly frustrated with, well, just about everything.

In other words, he's your typical teenager.

Already frustrated that he's not one of the "cool" mutants at Xavier's school, Quentin's mood turns from bad to worse when he finds out via telephone call that he is truly not his parents' son - he's adopted. Coupled with general rejection from most of his peers (with the exception of the hilarious semi-visible mutant Glob Herman), the hate-crime induced murder of a famous mutant designed, and a tongue-lashing from none other than Xavier himself, Quentin becomes more and more obsessed with a "pop art" illustration that originally ran in the Daily Bugle the day he was born. (The picture, which depicts a mutant slave-driver whipping innocent human beings in the middle of the street, originally ran in Chapter Two of the famous Kurt Busiek/Alex Ross book MARVELS... and was, according to the authors, originally taken from or inspired by X-MEN #14.)

His obsession with the picture continues to grow as he continues to become more and more enraged with the state of affairs as he sees them, and this anger, coupled with the fact that he is in the process of experiencing a "secondary mutation," finally comes to a head in the closing page of the issue.

Along with the main story several subplots continue to progress, including a revelation about the ever-more-feral Beast (that will surely make several fanboys breathe a collective sigh of release) and the continuously dangerous relationship between Emma Frost and Scott Summers upon the eve of Jean Grey-Summers return to campus.

Overall, what really struck me about this issue was that, for the first time in months, I felt as if I had gotten a complete story in one issue. Mind you, I'm all for long-form and multi-part stories, but as of late, Morrison has seemed to be more interested in simply throwing all kinds of heady ideas and concepts against the wall just to see what would stick. I generally like the direction that he's taking with this book (exploring the real-world implication a global-wide surge in the mutant population), but I also enjoy clear, concise, storytelling with great art... and this is exactly what this issue presented to me.

The last page of this issue makes it obvious that the issues approached herein are far from a final resolution, and that's fine. In fact, that's more than fine, because now I am anxiously awaiting the next issue of NEW X-MEN as a result. However, if Morrison wants to continue to generate general enthusiasm for each upcoming issue, he will most likely find that it will come not from tossing wild new ideas all over the place, but rather from integrating such interesting concepts into an identifiable story-telling structure.

Finally, before I fall off my soapbox, I would also like to draw special attention to penciler Keron Grant. Although I have a few small nitpicks about his art (most of them centering around the way he drew the Stepford Cuckoos), his work was, for the most part, nothing short of excellent throughout the issue. His feral rendition of Henry McCoy is frighteningly effective, his Glob Herman is hilarious (which, considering the fact that Glob has no face with which to help portray any emotions, is especially impressive), and his renditions of all the other familiar cast members contained subtle nuances that helped to perfectly embody their roles and personalities in this mutant melodrama.

Here's to hoping that we see more of Keron Grant on NEW X-MEN, as well as more spot-on storytelling from Grant Morrison. After all, with Issue #134 they have both shown the world what fine work they are capable of...

Truth: Red, White & Black
Written by Robert Morales and Illustrated by Kyle Baker
Published by Marvel Comics
Reviewed by Todd Casey

According to editor Axel Alonso, Marvel's controversial prequel to the origin of Captain America was heavily influence by the Tuskegee experiment carried out from 1932-1972. Quick history lesson...

The U.S. Public Health Service conducted an experiment on 399 black men - mostly illiterate sharecroppers from Alabama -- in the late stages of syphilis. They were never told what disease they were suffering from and only informed that they were being treated for "bad blood," but there was little (no) treatment going on. The data was to be collected from autopsies of the men, and so they were pretty much left to die.

TRUTH and the Tuskegee experiment share more of a common theme than anything else: they each demonstrate how intolerably racist this country once was. The object of this story is to bring that to light and to add a touch of realism to the story of Captain America, which was fashioned decades before America was willing to address civil rights. The good name of Captain America is in no way besmirched by the events of TRUTH. Steve Rogers was the best of the best, that is why he was given the super-soldier serum. He did not (not so far at least) say, "Whoa, I'm not taking this, test it out on some black guys first," that was the work of the United States government. There is a certain cold logic about TRUTH; the government wants to make sure their serum isn't poison, they are willing to use "lesser humans" as guinea pigs (evidenced by Tuskegee), so it follows that, in 1940s Marvel Universe, this story would take place. The concept itself is quite an interesting premise, and the story isn't half bad either. It is basically an exposition issue. Morales gives snapshots of the lives of three black men in 1940. Isaiah, who even during "Negro Week" at the World's Fair, is denied admission to a show based on his skin color. Maurice is an idealistic, upper-class man in his 20s who is willing to stick up for the advancement of his people even when it makes him a target for violence. Luke is a bitter military man who has been demoted from Captain to Sergeant for events linked to the racism of his superiors. The attack on Pearl Harbor sends them all into service. Isaiah enlists out of patriotism; Maurice because his anti-war demonstrations led a judge to decide he would have to choose between service and prison; and Luke because it will give him a chance to redeem himself.

Morales was able to construct solid character with just a few pages devoted to introducing each. I expect that there will be far more development of the three men in subsequent issues and that this series will be primarily character driven. There was no action, but this story didn't strike me as one that would have any action anyway. It is about three men who get manipulated by their government in the name of America's war effort and not the war itself.

Kyle Baker's art vaguely reminds me of cartoons from the 1940s and 1950s, which is probably why they chose him to pencil story taking place in that period. Baker has a knack for facial expressions. His dead-on renditions range from Luke's intense bitterness about his troubles, to the side-show barker's nervous plea to Isaiah that he leave without a fuss. There are a few scenes that suffer horribly from computer augmentation, which is absolutely mismatched with Morales imprecise, but attractive, line.

TRUTH is an attempt to deepen the mythology of Captain America, but not to detract from his character (as many worried it would). The first issue was decent overall, but in order for this series to succeed, the following issues have to much better. Like ORIGIN, the first issue gives little indication about exactly where the story is going. It is all background for the next issue, but it was a good background that was better laid out in 32 pages than squeezed into three in the name of jumping into the conflict.

SAVAGE DRAGON #102
Written and Illustrated by Erik Larsen
Published by Image Comics
Reviewed by Aaron Weisbrod

Ever since the mega-villain Darklord (yes, he's an homage to a certain famous cosmic villain from the DC Universe) first appeared in SAVAGE DRAGON, Erik Larsen has been playing with the notion of alternative universes and parallel dimensions.

In fact, Larsen has recently taken a very direct approach with this notion, going as far as to tell two separate tales that each detail the goings-on in two separate realities in each single issue of SAVAGE DRAGON. While this has been a commendable and interesting storytelling technique, it looks as if these two worlds are about to collide in a most unexpected and unpleasant fashion.

With Issue # 102, Erik Larsen has matched the record of one hundred and two consecutive issue of a superhero comic originally set by Jack Kirby and Stan Lee during their legendary run on Marvel's FANTASTIC FOUR back in the day. To commemorate this milestone, Larsen decided to pay tribute to Lee and Kirby by paying homage (there's that word again) to one of the most famous storylines they ever created... if not one of the most famous storylines in all of comicdom. (Hint: Think BIG.)

The first story of the issue opens with Mother Mayhem, a Hulk-ish purple female alien who is floating throughout the city upon two of the three alien fetuses that are still connected to her nether-regions via rope-thick umbilical cords.

Say it with me now: "Ewwwwww!"

After a gross yet hilarious fight sequence (which includes, but is not limited to, Mother Mayhem using the alien fetuses as both nunchuck-like weapons and grappling hooks), Dragon discovers that she is indeed just a messenger for a much, much larger threat...

The second story of #102 chronicles the adventures of Dragon's son Malcolm. Now aware of the fact that the mother he has grown-up with is nothing more than an extra-dimensional doppelganger (thanks to a brief conversation with Dragon during his equally brief visit back to "our" dimension a few issues ago), Malcolm is now more determined than ever to find a way to be reunited with his "stranded" father.

Although the idea of running two simultaneous storylines that take place in two different dimensions could easily become extremely confusing (as it has on a few occasions in the past, especially in some of the pre-#100 issues), Larsen does an excellent job of keeping both stories very accessible to first-time readers. Sure, there are some aspects to both stories that will mean a little more to longtime readers than newbies (especially in the second story), but both still hold-up well enough on their own to prevent any "Huh?" reactions from potential readers looking to see what all of the hype surrounding this title is about.

SAVAGE DRAGON has always been one of those books that fans and professionals alike have coveted as a "cult classic" and/or "guilty pleasure," and with more and more readers finally deciding to give this title a well-earned shot (after all, this book has been self-published through Image since Day friggin' One), I'm glad to see that Larsen is taking the steps necessary to make this book as accessible as possible to new readers.

Great art, fun storylines, automatic accessibility, and 32 pages of solid story with no ads(!)... anybody who reads comics should give be giving this title a shot. Period.

KILLRAVEN #3 (of 6)
Written and Illustrated by Alan Davis
Published by Marvel Comics
Reviewed by