[Zacharie]

Title: The Sixth Gun (Click to go to the release post)
Writer(s): Cullen Bunn (Click to see other books from this writer released on this site)
Review source: Chris Murphy (Don't click it, read the review here... )

Review: The Sixth Gun #6

If you've glanced at comic shelves in the past few years, you've probably noticed that there are a lot of books out there that try to do mashups of genres and iconic character types that don't normally go together. Cowboys. Pirates. Ninjas. Robots. Steampunk. Lovecraftian monsters. Zombies. Vampires. A meets B meets C in a crazy mixed up world unlike anything you've ever seen before! Right? For the love of god someone please buy our book! But the sign of a comic that uses so many elements well is that you don't realize the full extent of what's going on until you've finished reading it and then begin to think about it again later. And no book has been doing this anywhere near as well as The Sixth Gun, written by Cullen Bunn with art by Brian Hurtt and published by Oni Press.

The series wrapped up its first arc with issue 6 this week, finishing off a great first story while establishing a solid foundation for what I can only hope will be a long-running series to follow.

The Sixth Gun is a western that mixes elements of horror and magic and mythology, with characters ranging from cowboys to civil war veterans to holy men to Pinkertons. Central to the series is a set of centuries-old mystical weapons that have changed in form and function throughout the ages. Currently in the guise of revolvers, the guns are central to the plans of General Hume, a cruel ex-Confederate army leader who has risen from the grave and assembled his old gang to reclaim his gun from the set and use all six to open a protected seal that will increase Hume's dark powers.

Standing against Hume are Becky Montcreif, daughter of the preacher whole took Hume's gun, Drake Sinclair, a former follower of Hume who turned his back on the evil man, and Drake's friend and Billjohn O'Henry, a skilled gunfighter. Issue 6 sees a decisive climax to the conflict as Hume's gang and its small army of zombies assaults the run-down fort surrounding the Maw, the deep pit where the seal Hume seeks to open is to be found.

And it's a great end to this first arc. The battle has a fittingly apocalyptic, chaotic tone to it, thanks in large part to the excellent crowd shots and panel layouts by Brian Hurtt. Hurtt frequently uses two-page width panels in the middle of the action to give a sense of the full fury and breadth of the battle being waged, and they're all well done. Cullen Bunn's writing also rises to the occasion, jumping from showdown to showdown across the scattered fighting until the climactic final confrontation. And the characters really step up, each showing a knack for fighting or selflessness they haven't shown before.


What's been so great about this series, and what continues to be great about it, is that it's created a rich, complex world while very rarely lapsing into any sort of long periods of narration. As in previous issues, we learn about the characters and the setting as we watch the action unfold before us. The book doesn't feel the need to hold the audience's hand and walk it through, carefully explaining everything. It believes that if it shows the character's actions, shows the weapons in use, shows use the fantastic creatures and magic in the book, we'll be able to understand what's going on ourselves as long as the story's well told. It is, and we do.

It's halfway through November now, so I feel safe in saying that The Sixth Gun is the best new original series from an independent publisher to come out this year. If you haven't read the book yet and you're the patient type, make certain to pick up the trade paperback of the first volume when it comes out next year. If you're not the patient type, then I recommend finding the first six issues as soon as you can and catching up on this great story.

More info:
- written by Cullen Bunn; art by Brian Hurtt
- Publisher: Oni Press

[Zacharie]

Title: S.H.I.E.L.D.: Infinity (Click to go to the release post)
Writer(s): Jonathan Hickman (Click to see other books from this writer released on this site)
Review source: Ryan K. Lindsay (Don't click it, read the review here... )

Review:

“S.H.I.E.L.D.” has so far split the readership and this issue might only serve to widen that divide as these vignettes are ethereal and cerebral. If that separation occurs, it would be a shame because there is much to study on these pages. This issue is not the bombastic history Jonathan Hickman is crafting across this title but it is the first and most important Appendix in appreciating the figures with which he is playing the game.

These tales are quick and fleeting but they might just contain little Rosetta Stones to deciphering the entirety of the series and the motivations of some of the central characters. It would not pay to miss out on what is presented here. These brush strokes are important and something to be savored. It's nice to have this space to explore the internal instead of the constant external.

Hickman writes each tale like he's writing history. Which he is. There's an erudite quality to the words he chooses, the silence he lingers on, and of course the characters he's using. The first tale might fly close to being fanfic but The Colossus of Rhodes fighting a Kree Sentry truly is more than you can expect from a comic. It's proof that this series still wants to be fun and play with your desires of what a Marvel comic is and can be.

Nostradamus, Nikola Tesla, and to some degree Michelangelo, all get their time to shine (pun intended for Michelangelo) but their pages are more character dressing than pure plot narrative. This is insight into these men, as their motives and futures become slightly clearer within this anthology. Isaac Newton is already established as a character in the book, we know what he is and what he's capable of, but it's interesting to see a little more written down here for us to analyze. The man is driven, surely, but he's also a little crazy.

The art in this issue is extremely varied. Nick Pitarra's work is cartoony in a comic book way. His work is a great match for the ludicrous fight of the story. Zachary Baldus has a much more independent flavor to his pages, the color and the sound effects work to create the narrative, as well. Kevin Mellon plays with the scope of the page settings to convey the immense nature of the subject matter. Gabriel Hernandez Walta comes across like an evil newspaper cartoon, though the flashback panels hold a woodcut quality that is enchanting. These men might not replace Dustin Weaver, but they all make a smart decision not to try to emulate his work.

This anthology is a solid concept with deft execution. While it might feel thin, it is actually expanding the universe of this narrative. This is helping you get to know these titans of science better and that should never be cause for concern. Hickman sells each tale with a personal hook and this works to make for fascinating and sometimes scary reading.

More info:
- Story by Jonathan Hickman
- Art by Zachary Baldus, Kevin Mellon, Nick Pitarra, Gabriel Hernandez Walta [more...]
- Colors by Rachelle Rosenberg, Dan Brown, Zachary Baldus, Gabriel Hernandez Walta [more...]
- Letters by Todd Klein
- Cover by Gerald Parel
- Publisher Marvel Comics
- Another fine comics released on mobilism.org

[Zacharie]

Title: Mister Wonderful (Click to go to the release post)
Writer(s): Daniel Clowes (Click to see other books from this writer released on this site)
Review source: johnseven (Don't click it, read the review here... )

Review:

Imagine Woody Allen was still relevant and had any sort of connection with real people, then transfer that to a sequential story format, and you have the essence of “Mister Wonderful,” a novel that is an expanded version of the serialized story creator Daniel Clowes did for The New York Times Magazine last year.

It’s the tale of a walking neurosis, a man pummeled by relationships and his own self-deprecating inner monologue, as he is given an opportunity to turn things around in a most imperfect situation.

The story begins with Marshall sitting in a coffee shop, trapped in the purgatory of waiting for a blind date and second guessing every moment he spends alone and every person who steps in. When his evening eventually does unfold upon the arrival of Natalie, Clowes reveals Marshall’s female equivalent and creates a situation in which connections are made despite the blind date posturing, and the admirable true natures shine through the events that could work to split the new couple apart.

This is Clowes at his most sincere. He bills it “a mid-life romance” and although that’s an unassuming subtitle, it speaks to the depths he employs. Such a scenario does not mean a typical love story just with older people, but a cautionary encounter in which each person holds back the floodgates of their own experiences, trying desperately to enter into the moment and not allow the tumult to shape things that ought to happen naturally.

Unlike Woody Allen — and I apologize to Clowes for even evoking that comparison — Clowes is not blinded by the adoration of the world screaming “Genius!” at him. “Mister Wonderful” is peppered with the same, smart counter-culture hostility and analysis that Clowes has always exhibited in his comics and his films.

It’s less about being old and looking for love than about being old and looking for a place after years of not settling into one. Marshall is an everyman for the psychologically dislodged, but with Clowes guiding his story, the result is never pandering to our self-pity.

More info:
- Another fine comics released on mobilism.org

[Zacharie]

Title: Paying For It (Click to go to the release post)
Writer(s): Chester Brown (Click to see other books from this writer released on this site)
Review source: johnseven (Don't click it, read the review here... )

Review: Paying For It: A Comic Strip Memoir About Being A John by Chester Brown

One of the more mysterious transactions is that between a prostitute and client, and it’s perhaps this mystery that fuels at least part of the societal opposition to prostitution. Certainly there’s enough shame attached to both sides of the deal that neither are wont to talk about it except in very specific circumstances.

For the prostitute, it only seems to come up in the wider public sphere alongside a scandal, and with the subtext — sometimes true — that the prostitute wants to milk the situation for fame and money. In this scenario, the man is almost always someone of power, like Eliot Spitzer, and the story is framed as a fall from grace.

You never hear about the ordinary guys — theirs is no descent from glory, just kind of embarrassing. In some circles, it can be viewed as the most pathetic transaction a man can have.

This makes Chester Brown’s new graphic novel “Paying For It: A Comic Strip Memoir About Being A John” all the more alluring, even as you wonder why you should really care. Regardless, you do — this is the other side of the story, the side where the guy isn’t some power broker who views the women involved as just the reward of having enough money to toss around, but as one more antidote to loneliness that you have to budget out alongside groceries and heating bills.

The only thing that takes more bravery than writing this book is going on a North American book tour to promote it — which Brown is doing.

His story begins with the opening up of a relationship with his girlfriend and the slow realization on his part that he had no desire for a traditional love relationship any longer. Dysfunctional, sure, but there’s such an honesty in his dysfunction and something admirable in his decision not to complain about his problems anymore, but to just take care of them himself. Part of that effort eventually involves hookers after the relationship with his girlfriend dissipates. Love affairs are just too much of a bother for him.

Soliciting prostitutes, we find out, makes him happy. Strangely, he actually functions better in that situation, which also plays to some of his enthusiasms. For one, he likes to get to know each prostitute at least a little bit — for an idiosyncratic cartoonist who deals with reality in his work, it’s almost like a gold mine of material.

Brown also begins to enjoy the culture of prostitution — he is never so giddy as when he discovers a website to rate and review prostitutes. Suddenly having a hooker has entered into the same geek culture trappings as movies, comics, you name it.

Brown takes time to let the reader get to know each prostitute — and there are plenty — as well as his own peculiarities in regard to them. In fact, there’s something so clinical about these presentations that you can’t help being just a little bit disturbed, but that’s part of the charm of the book. Brown is so blank-facedly upfront with the material and the arguments for the validity of the lifestyle (he regularly spars with his famous cartoonist friends, Joe Matt and Seth, on the subject) that it takes on an Aspergers-like quality that tells us a lot more about Brown than his sexual transactions. It becomes a book about how a person deals with other people, and how someone with off-the-grid ideas of emotional life function within a community.

If you’re squeamish about sex scenes, Brown’s book is not for you, but the clinical quality of the presentations stops any eroticism in its tracks. “Paying For It” is one of those alarming moments in literature when someone is bound and determined to give you way too much information in the name of a larger argument — it’s revealing, compelling and a most unlikely book to find yourself unable to put down, which is a testament to Brown’s skill at turning even the most embarrassing material into creative gold.

More info:
- Another fine comics released on mobilism.org

[Zacharie]

Title: The New York Four (Click to go to the release post)
Writer(s): Brian Wood (Click to see other books from this writer released on this site)
Review source: johnseven (Don't click it, read the ad-free review here... )

Review:

If you’re looking for subtle or profound statements on growing up, finding your place in the crowd — heck, just finding yourself — and the psychological effect New York City has on a naive person, “The New York Four” may not suit you. If you’d like a teen soap opera version that touches on all those points — with a lot of loose threads dangling for an inevitable sequel — then step right up, Brian Wood and Ryan Kelly’s likable page-turner of college girl angst.

Riley is a socially awkward, shy Brooklyn girl who breaks out of her sheltered home life to attend NYU. The city unfolds for her — indeed, the novel at times reads like a teenage hipster’s guide to NYC — and she settles into her girl clique. The novel is structured through a series of psychological interviews on film, with the girls talking about their school lives — it’s part of a job they all land that requires evaluations.

The bulk of the novel revolves around Riley’s relationship with her over-protective parents and the rediscovery of her long lost older sister, as well as a mysterious romance subplot that dances alongside her quest for an apartment with her new college girl friends — the more life experience you have, the more obvious the revelations of the romance plot will be to you. You want to warn Riley, but these kids have to make their own mistakes, you know?

The others in the New York Four get less space for their characters to unfold — a page here, a page there. Given this treatment of the secondary characters I can only assume that this is the first book in a series, during which further aspects of these girls will be revealed — and these aspects will no doubt cause heartache, angst, and drama.

Can’t wait!

More info:

Written by Brian Wood
Illustrated by Ryan Kelly

Publisher:

[Zacharie]

Title: Agents of Atlas (Click to go to the release post)
Writer(s): Jeff Parker (Click to see other books from this writer released on this site)
Review source: Dave Richards (Don't click it, read the review here... )

Review:

If you want to save the world, you can’t always look the part. This is something the cast of Marvel Comics’ “Agents of Atlas” know all too well. Lead by Jimmy Woo, the Agents are presently trying to use the Atlas Foundation – a criminal empire over which Woo inherited control – to put an end to Norman Osborn’s Dark Reign by posing as sympathetic underworld businessmen.

“Having to act like criminals doesn't sit well with some of them, but by issue #6 they're feeling like they're getting somewhere,” series writer Jeff Parker told CBR.

In order to gain Osborn’s trust and allow the telepathic Agent Bob Grayson a peek into his evil mind, the Agents pretended to be dealers of illegal high tech weapons. Of course, keeping their cover meant butting heads with some of the Marvel Universe’s loud and proud heroes, as seen in “Agents of Atlas” #5, in which the team went toe-to-toe with the New Avengers.

“The peek into Osborn's head by Bob Grayson revealed someone they have a connection to, so they're out to exploit that if possible. They didn't want to have to trash the faux arsenal already; they had planned to keep up that operation longer to get closer to Osborn,” Parker explained. “But Captain America caught wind of the ‘arms deal’ early, because he's good at what he does.”

When Captain America and the New Avengers confronted the Agents of Atlas, they almost didn’t come to blows, but the human robot Agent M-11 recognized Wolverine as an opponent the Agents encountered during an adventure in 1958. “All along you have to study M-11's reactions to understand him, many times you can find human motivation,” Parker said. “He remembered that Namora was the one responsible for him being pulled up out of the bay years ago, so he put his mighty computer brain to work assessing what was known about her, ultimately leading to her return to the world.

“In [Wolverine’s case], it's a peculiarity of being a machine. M-11 doesn’t perceive time the way we do. Wolverine blowing him up in 1958 may as well have happened a few minutes ago to him. He voice-matches that agent Logan and bam! Still a threat! As we've seen, M-11 does not often wait for an order to make decisive action.”

The fight against the New Avengers was the first time Temugin, the son of the supervillain known as the Mandarin, fought alongside the Agents. He may have fought well and followed the orders of team leader Jimmy Woo, but readers shouldn’t think Temugin -- who was brought into the Agents’ ranks by their sinister advisor, the Dragon Known as Mr. Lao -- is ready to follow Jimmy’s lead without question. “When editorial and I were discussing how to bring the Agents into Dark Reign and the problems of running this formerly (and often still) evil empire, Joe Quesada suggested that Jimmy be given a character who would exert pressure from within, trying to keep them on the Atlas Foundation's actual goals,” Parker revealed. “With that in mind, it occurred to me that Temugin was the most logical candidate, even named after Genghis Khan [the Atlas Foundation’s origins lie with the Mongol Empire of Genghis Khan]. Everyone else is so loyal to Jimmy, it's fun to have a dissenter in there. And readers may find their interactions close to workplace politics we all have to endure! I like seeing how it all plays out as they work together more.”

On sale this week, “Agents of Atlas” #6 begins a two-part story in which the team follows the information they gained from Norman Osborn’s head to Cabal member and Namora’s cousin, Prince Namor -- the Sub-Mariner. “Namora has Namor on a pretty high pedestal, and does not know how to process the idea of him and Osborn working together -- at all,” Parker stated. “And the Agents are going to a new Atlantean colony, in the Pacific, where Namor is trying to establish another good home for his people. Any dealing with Namor is going to be difficult -- if you showed up with chocolate truffles for him, it would still turn out difficult -- but we get to see him through Namora's eyes and how he's the inspiration and hero of the Atlanteans. I liked showing that side of him. Also, some taboos get broken all to hell!”

As if confronting the mercurial Namor wasn't bad enough, in July's “Agents of Atlas” #8, the team runs afoul of another Marvel character with strong temper problems, the Incredible Hulk. “I've been wanting to get them around the Hulk for some time. It's a hoot to unleash a force of nature against the team that's all about planning,” Parker remarked. “As is often the case with the Agents though, it's not going to be just a slugfest, there's other elements at play. And it doesn't help that it goes down out in the desert where Namora is pretty parched, and Jimmy has taken off on his own mission with M-11.”

In August's “Agents of Atlas” #9, a new threat to groups' sting operation emerges, a frighteningly powerful underground organization called Great Wall. And to make matters worse, the group may or may not be lead by Jimmy Woo's ex-girlfriend, SuWan, who recently appeared in a flashback of one of the Agents' 1958 adventures. “All I can say is: people change a lot in fifty years!” Parker stated. “She was so nice too, that SuWan….”

The next few months will see a number of talented pencillers tackling “Agents of Atlas,” like Parker's frequent collaborators Gabriel Hardman and Carlo Pagulayan. “People are going to love what Hardman has done on the Atlantean story, he really put his big imagination into it full force,” Parker said. “We're then cutting him a slight break to fulfill his Hollywood obligations, as he needs to board a blockbuster movie, but then he should be back to 'Atlas.’

“’Planet Hulk’ fans might want to watch Carlo return to the Green Giant smashups they loved a couple of years ago, he's really getting into it. He even makes seeing Bruce Banner exciting! As you see, we try to work ahead to let these massive talents have plenty of time to draw the way they want.

“After the Hulk story, we have a stint from another heavy hitter, Dan Panosian. His pages are just now coming in and they are mighty sweet. We've been so lucky at the top level talent drawing this book, I can barely believe it.”

“Agents of Atlas” is a series on the forefront of the current events of the Marvel Universe and it will stay there in the months ahead -- but it's not a superhero book. It's a title with roots that stretch back deeper into the age of pulp magazines, and in the months ahead the series will get back to those roots. “We jump back into the pulp aspects even deeper than before!” Parker promised. “It starts to go over the top and not look back.”

More info:
- Another fine comics released on mobilism.org

[Zacharie]

Title: Blade (Click to go to the release post)
Writer(s): Christopher Hinz and Steve Pugh (Click to see other books from this writer released on this site)
Review source: Eric Haar (Don't click it, read the review here... )

Review: Blade #1

Ladies and gentlemen, we may very well be in the midst of a vampire revolution in the comic book world. Last week, we took a look at SUPERMAN #180, which featured the big man himself, Count Dracula. This week, DC's cross town rivals, Marvel, have launched a new series under their mature readers oriented MAX line featuring their pre-eminent vampire hunter, Blade. Could it be that pretty soon we'll walk into the comic shop and the stands will be chock full of comics featuring undead blood suckers (vampires, not lawyers)? Well, no, I admit that's not very likely, but here at 4-Color Review you're getting vampire action two weeks in a row.

Blade has a long and storied history with Marvel. He first appeared to battle Dracula (Marvel has a much snazzier Dracula than DC and he's "in continuity" to boot) in TOMB OF DRACULA #10. Subsequently, he developed a bit of a cult following and spent decades popping up here and there in the Marvel Universe, but he never really reached the point where he would be considered a first tier character. Heck, I'm not sure that you could have even called him a strong second tier character. Then, something unusual happened. In 1998, BLADE became a "Major Motion Picture." Not only was the film a financial success, which is impressive for being based on a character that many outside of comic fandom are not familiar with, but for the icing on the cake it was pretty darn good as well. In my opinion, probably one of the best films ever made from a comic book property.

Now we are a mere week away from the release of "BLADE II." Anticipation is running high and the buzz is good. David S. Goyer returns as screenwriter and Guillermo Del Toro slides into the directing chair. Most fans have a fair amount of confidence in this team. So, what better time to make sure that Blade is represented on the stands (Marvel has an official movie adaptation as well) then when movie fans, potential new readers might be out searching for the title. And, from what I've read about "BLADE II," it appears that there are some themes and concepts from the movie integrated into this series, probably to keep things familiar for the above mentioned folks who might have decided to picked up the comic after a trip to their local cinema.

Likewise, Blade's costuming, appearance, weaponry, and personality seem to have taken on a serious movie/Wesley Snipes bent. Ah, the comfort of familiarity. Not having had extensive experience with Blade in the comic world (shame on me), I can't say whether this is a positive or a negative from the standpoint of the longtime Blade fan. It's pretty much become the norm that a successful movie means that elements from the film world are integrated into the comics (see X-Men), but I often have mixed feelings about this when it involves series' that I've read extensively - even if the movie is good. If you're a Blade reader from way back, I'd like to hear your opinions on this on the 4CR message boards.

Now, I wouldn't want you to have read this far "in vein," so let's take a "bite" out of this "sucker." You have my assurance that there are no more painfully bad puns in this review - though there are a few in the book itself. This comic is structured along two parallel storylines that intersect to get things rolling in earnest. The first establishes Susan, a young woman who is attacked by vampires and rescued by an unlikely hero. While driving through a less than attractive neighborhood, Susan finds herself stranded. Her car engine conks out and her cell phone won't work, it's like she's in a dead zone. As she's wondering what to do, a group of vampires swoop down upon her. They're a nasty bunch. No elegant capes or eloquent words, just vicious and ugly bloodlust.

Just as the vampires have Susan cornered and are about to do their worst, a shadowy figure appears out of frame and the vampires end up on the receiving end of some serious nastiness. At first, it seems like it might be Blade, but when we get a full picture on the splash page, it's something else all together, another monster with fangs and claws who tears through the regular vampires like they were paper. This nasty fellow also has another unique feature, a bony protrusion on his chin which he uses to strike down the leader of the vampire gang by driving it through his throat. To Susan's surprise, when all of the vampires lay dead the creature heads off leaving her alive and untouched.

Unaware of this creature or the bizarre encounter, we catch up with Blade doing what he does best. He's tracked down a group of vampire police officers who are using their position of power to pick up lawbreakers and enforce their own kind of justice. While he uses weaponry rather than teeth, claws and spikes, Blade is no less effective at dispatching vampires than the creature that Susan encountered. He rips into them mercilessly. The last vampire standing (well, he's screwed to the ceiling, actually) is trying to grab a book before Blade finishes him for good. Blade takes the book and heads off as dawn approaches...

I thought that this issue did a fair job of introducing the characters, but we didn't get too deeply into the motivations of who Blade is and why he does what he does. I'm sure that this will be covered a little more in future issues, but for a comic that has some potential to be picked up by new readers a little more introduction might have been nice. The way Marvel's been going lately this issue will probably see trade paperback publication in the next few months and hopefully by the time it hits the mainstream book trade the arc will have a little more explanation built in. We get a nice overview of who the V3s are and how they become that way and we learn a little about Susan as well, but Blade is left a little more enigmatic.

Steve Pugh's normal humans are fairly realistic looking, but his vampires and the V3s are horrifying and grotesque, which is certainly appropriate. The scenes of violence in this book are extreme to say the least. Blood flows with great abandon and bodies are cleft in twain, ripped apart and catastrophically punctured. Some of the violence is a little bit much for my taste, but this is just my personal opinion and it definitely shows that the "stakes" are high for Blade. O.K. I lied - one more bad pun. As usual I try not to lay too much judgment on a first issue. It will be interesting to see how this series develops and what the "Men in Black" like V3 hunters will think of Blade himself

More info:

Story: Christopher Hinz
Art: Steve Pugh
Letters: Richard Starkings & Comicraft
Colors: Atomic Paintbrush
Cover: Tim Bradstreet
Publisher: MAX (Marvel Comics
Another fine comics released on mobilism.org

[Zacharie]

Title: Grimm Fairy Tales Dream Eater Saga (Click to go to the release post)
Writer(s): Raven Gregory (Click to see other books from this writer released on this site)
Review source: Jorge Solis (Don't click it, read the review here... )

Review: DREAM EATER SAGA #0

A brutal and twisted prelude, with a strong dose of dark fantasy and blazing adventure. It takes just a single murder to bring about the beginning of the apocalypse. A lonely girl is hell-bent on revenge and will stop at nothing until her bloodlust is quenched. This is a gripping crossover event with an engaging cast of characters, expanding into all the titles under Zenescope comics.

The story kicks off with a violent and bloody killing spree. In a secret village, in the realm of Myst, a sacred truce is held amongst the men and women. Guarded at all costs, no one is allowed to touch or read from the Book of the Lost. The ancient text has absolute unholy power that the world must never see. This is clearly why bandits arrive to slaughter the villagers and steal the forbidden book.

A little girl, Baba, hides under the bed while the chaos erupts everywhere around her. Breaking through the front door is a menacing figure known only as The Dark One. This hideous monster has curved horns on his head and his skin glows bright red. The demon orders Baba’s mother to give up the book. When she doesn’t, Baba witnesses her mother murdered right in front of her eyes.

Consumed with rage, Baba wants revenge against the entire world. No one is blameless in her mind, when she reads from the old book. Everyone alive is held accountable as Baba lets the ultimate power swallow her whole. Driven by madness and vengeance, this thrill-seeker will follow the Dark One wherever he goes. She will stop at nothing to get to him and kill those who get in her way.

Authors Raven Gregory (THE WAKING), Joe Brusha and Ralph Tedesco have crafted a fantastical revenge thriller. Characters make unexpected choices due to their self-absorbed personalities. Even though there are survivors from the slaughter, a group of self-proclaimed heroes will look away and ignore the cries for help. They choose to hunt after the Dark One instead, but little do they realize, the group now has competition from Baba. The scribes allow room for storylines to develop and a round-up of characters to breath during this 12-part crossover event.

Page by page, the artwork by Anthony Spay is visually captivating. Spay treats readers with well-drawn facial expressions and stylized action. The artist illustrates the snowy fields with dark shadows and a vibe of loneliness. The bright colors by Falk is quite surprising for a bleak story about death and family loss. The major highlight is the gripping images of Baba’s mother being tortured and murdered by the Dark One.

After finishing GRIMM FAIRY TALES: DREAM EATER SAGA #0, readers will no doubt be eager to follow the rest of the epic crossover event. This epic will take place further in WONDERLAND, NEVERLAND and INFERNO. Follow the destruction of the Dream Eater all across the Zenescope titles! This comic will be released next week, and fans can preorder from the official website here.

More info:

- Raven Gregory (W) Anthony Spay (A)
- Another fine comics released on mobilism.org

[Zacharie]

Title: Grimm Fairy Tales: Myths & Legends (Click to go to the release post)
Writer(s): Raven Gregory, Joe Brusha & Ralph Tedesco (Click to see other books from this writer released on this site)
Review source: Larry King (Don't click it, read the (ad-free) review here... )

Review: Grimm Fairy Tales: Myths & Legends #4

Previously, in Grimm Fairy Tales: Myths & Legends: Annie has been committed to an institution, and on a stormy night “something” begins attacking the staff and patients.
ONE FLEW OVER THE WOLF’S DEN

Annie holds a secret that she has suppressed for years, and as result of that she looks to be responsible for the horror they are facing. As hearts begin to disappear from peoples’ chests, a storm rages outside, all the survivors must band together, or risk perishing at the hands of this unseen force that is killing them one at a time. Does Annie’s past hold the key to their survival? Or is she just a deranged young woman?

This comic reads like of the many rehashed slasher flicks that were spawned in the wake of the success of the “Friday the 13th” franchise, and I frankly didn’t like that. The comics multiple covers(a total of 5) spoil the last page reveal, but you can clearly see the story is a take off Red Riding Hood, and really that’s about it.

The setting is a stormy night, at a institution, and those that are trapped there are being picked off one by one by a unseen force. That is cliché, and as I read this issue I was able to see what was coming around every corner. There were no surprises in store here, and that was just a damn shame.

The characters fit so well in the cliché horror movie mold, you don’t even need to know their names. You have a skank, the fat kid, the caring doctor, the tough token minority, the nice girl you don’t want anything bad to happen to (but you know it will), and of course the lead character (which will come out relatively unscathed). Stock characters that weren’t fun, or engaging on any level throughout the entire issue.
ANIMAL MAGNETISM?

The artwork for this issue is all over the place, with strange shadows that are inconsistent, to characters that have facial expressions only possible after snorting a veritable mountain of cocaine. Also proportions for these characters are out of whack. There is a scene starring the main character Annie, where her hands are the size of a babies, and if you did “visual math” to add up how tall she would be, it’d be over 10 heads tall. That’d be okay, if she was from a low gravity planet, but she’s supposed to be from Earth.

The anatomy for both the human characters, and the wolf are flawed. They have a stiff appearance, like posed action figures, and not in the cool way that Ed McGuiness is able to pull off. Their limbs are placed in awkward poses in what looks like an attempt to make them look like they are really alive and interacting. But in doing so it highlights how little the artist is able to convey visually, and makes the awkwardness of the characters linger longer.

The character design looks like the artist raided the late Michael Turner’s sketch book for stuff that didn’t quite make the cut. The characters have that Turner-look to them which is something I did like back in the day, but I out grew very quickly. Here, it looks as out of date, and creatively stagnant as a mosquito breeding puddle from 1999.

This comic’s FIVE covers are just a little too much. Two are just headshots of Red and the Wolf (both by Al Rio); two are limited covers, a print looking one(by Nei Ruffino), and a alternate coloring variation to the main cover by Angel Medina that highlights the red in the cover, while desaturating all the other colors to gray. None really are that appealing to me, and I wish they’d have another cover choice, but I feel that they have already had four too many so far.
THE VERDICT: HOWLING MAD AT THE MOON

This was a disappointment. The execution of both the story and the art are flawed, and should have been handled much better. The excessive use of splash pages throughout the comic, of which I counted four, and only the last page was justified in the use of the format.

If you have been under a rock when it comes to the formula that makes up a baseline horror movie, then you will probably like this comic. But if you have seen any number of horror movies, and I am not talking in the dozens but maybe like six or seven, then you will find this comic predictable and flat.

More info:

Story: Raven Gregory, Joe Brusha & Ralph Tedesco
Writer: Raven Gregory
Art: David Miller
Colors: Jason Embury
Letters: Jim Campbell
Production: Chris Cote
Covers: Angel Medina and Milen Parvanov; Al Rio and Jose Cano; and Nei Ruffino
Publisher: Zenescope Entertainment
Story Pages: 25

Publisher:

[Zacharie]

Title: The Incredibles Family Matters (Click to go to the release post)
Writer(s): Mark Waid (Click to see other books from this writer released on this site)
Review source: Doug Zawisza (Don't click it, read the review here... )

Review:
The Incredibles: Family Matters #2

From the opening image of Mr. Incredible struggling to open a jar of pickles, there is no mistaking the fun romp Waid and Takara are providing readers in this issue of "The Incredibles: Family Matters." This is the second issue of this series, but it is as readily accessible as the first, thanks in no small part to the conversation between Mr. Incredible and Frozone.

Doing what he does best, Mark Waid delivers a tale of heroic proportions. Latching onto the vibe established by the motion picture, the characters in this book feel like a natural extension of the movie. This could be an episode from the "Incredibles" cartoon that never was, the treatment of the characters –- Mr. Incredible and Mrs. Incredible in particular –- is spot on. While the action in this issue is sparse, the character moments are active -– not just talking heads. Waid gives his artist room to work.

Takara takes that working room and fills it with fantastic stills popped of the celluloid of the movie itself. His grasp of the characters -– those filling this world, as well as the stars themselves -– is strongly defined and steadfastly carried through. Takara is careful to strike a balance between too much detail and none whatsoever, letting the characters carry the scenes when necessary.

His surrounding creative crew, including Andrew Dalhouse on colors and Jose Macasocol, Jr. on letters, offer the visual pop that really makes this book vibrant. From the glow of the refrigerator light to the color halos around Frozone's speech balloons, this book is full of little touches that dot the "I" in Incredibles, making it a slice of the Pixar-created universe. This issue offers the added bonus of introducing Doc Sunbright, who bears a striking resemblance to another character from the cast of the Incredibles that we have met before.

The mystery of Mr. Incredible's power loss is not solved in this issue, but this issue does provide enough action, interaction and characterization to offer up some additional subplots ideal for all ages –- whether it's the transformation of the Incredi-car or Violet's crush on the boy next door, there's something in this book every reader can relate to. The final page puts a dynamic new element on the table for the Incredibles to face in the third issue of this series -- an element that is sure to challenge this family like never before.

The Incredibles: Family Matters #4

Once upon a time, Mark Waid was lauded as a writer who brought a Silver Age feel to comics he wrote in the present time. When heroes were decidedly shifting towards darker place and the "anti-hero" became the norm, Waid was a beacon of hope. He has brought his knack for Silver Age fun (with a modern flair) to many of the books he has written, but he seemed like an ideal candidate to craft tales about the (arguably) most popular superhero family in the world. He is, indeed, the ideal candidate.

Waid wraps up the first story here, leaving a thread or two hanging to be revisited later, all the while turning in a story worthy of the Disney/Pixar brand. The Pixar films have been praised for their ingenuity and ability to draw in audiences of all ages. Waid's work with "The Incredibles: Family Matters" has that same ability. My wife has been enjoying this title as much as I have, and my kids all clamor for the copy when I finish reading it. Granted, we all get a little something different out of each issue, but we all look forward to the adventures of the Parr family.

Takara's art has improved along the course of this series, working with Mark Waid to build more into the world the Incredibles inhabit. Takara's page composition tends to be more traditional, but the coloring and letters by Dalhouse and Macasocol give the book a modern sensibility. Now that this first arc has wrapped, I hope to see Takara back for the next.

This may not be the greatest superhero comic ever written, but it sure is a darn great book worthy of sharing with the whole family. As the first completed Disney/Pixar/BOOM! Kids tale, I look forward to seeing how it is collected as well as how a continuity begins to be built upon this foundation. As mentioned before, there are a couple threads hanging out there that could be seized and woven into future stories.

More info:

Story by Mark Waid
Art by Marcio Takara
Colors by Andrew Dalhouse
Letters by Jose Macasocol Jr.
Cover by Sean Galloway, Marcio Takara, Tom Scioli
Publisher; Boom! Studios

[Zacharie]

Title: Fear Itself: Spider-Man (Click to go to the release post)
Writer(s): Chris Yost (Click to see other books from this writer released on this site)
Review source: James Hunt (Don't click it, read the (ad-free) review here... )

Review:
Fear Itself: Spider-Man #1

Spinning out of "Fear Itself" (in case the title hasn't already clued you in), this miniseries by Chris Yost and Mike McKone sees Spider-Man attempting to deal with the consequences of a wave of heightened fear spreading across the city, even as he finds himself afflicted by it. As the citizens of New York turn on themselves, Spider-Man must contend with his own self-doubt and pessimism. It's fair to say that as far as Spider-Man stories go, it's a little on the darker side.

As with all tie-in series, the crucial question of worth has to be asked. Is there a story to tell, or merely a comic to be sold? Happily, "Fear Itself: Spider-Man" is definitely part of the former category. There's a definite sense that this miniseries is telling a story that, while not integral to the plot of "Fear Itself," does at least help us understand the crossover to a larger degree and articulate some of what's at stake. Although the main series keeps telling us that the populace is being driven into a fear-induced frenzy, it's up to peripheral miniseries to actually show it. On that level it undoubtedly succeeds.

That said, one can't help but wonder where the choice of villain came from. The issue would have made a credible enough one-shot, but the need to fill an entire miniseries means the stakes must be raised, and Yost accomplishes that by bringing back a long-time, third-tier Spider-Man villain at the conclusion of the issue.

Although the reveal is a well-executed one, hidden in plain view until the final page, it seems like there should be a better candidate for a story based around fear. If he can find a theme to play with or a new angle for the character, there's no reason it couldn't work, but right now it's too early to tell whether this is an arbitrary choice. Perhaps Yost is aiming for a more primal definition of "fear." Perhaps he just felt like using a villain who hasn't been seen for a while. Whatever the reason, it'll be interesting to see how his story develops over the rest of the series.

McKone's artwork is as solid as ever, and unusually, he and colorist Jeromy Cox have opted for a red-and-black version of the classic costume, rather than the more familiar red, black and blue. Leaving aside the question of how valid that interpretation is (I enjoy it, at least), it gives the book a darker, somehow more somber look that feels appropriate for the book's graver-than-usual tone.

However, the best praise I can give Yost and McKone with "Fear Itself: Spider-Man" has been saved until last, and that's the assertion that this series is straddling the crossover line expertly. As a stand-alone Spider-Man story, it wo. As a tie-in miniseries, it works. It should satisfy both halves of its target audience, and if it continues to do so while taking the story in a more interesting direction in future issues, well, so much the better.

Fear Itself: Spider-Man #2

Picking up from the previous issue and covering Spider-Man in scads of biting rats, this issue expands the lens through which the Marvel Universe is viewed during “Fear Itself.” With panic completely unleashed in the bustling city of New York, Chris Yost weaves a web of multiple stories that cross into Spider-Man’s life. Not only do we get to see how ragged your friendly neighborhood wall-crawler becomes as he tries to help curb the hysteria in the Big Apple, but we see a great deal of how Spidey gets so worn down.

One of those stories is that of Vermin, the long-time Spider-Man foe who absolutely fears Spidey like no other, and rightfully so, given what Vermin has seen and suffered during “Kraven’s Last Hunt” and stories since. Reacting out of his own terror, Vermin lashes out and attacks Spidey, crossing webs with another life in the process.

Mike McKone understands how Spider-Man should move. Ol’ Webhead all but dances through this book, contorting into movements that would make breakdancers envious, balancing on his fingertips and twisting through the sky as he slings from one web to the next. McKone’s art is splendid and wants to tell the story all by itself, celebrating Spider-Man, comics, and the creators that have contributed to both. This results in some beautiful pages that appear spoiled by the dialog boxes that can’t find dead space to exist in. Rather than working together, because of the immense detail and depth in McKone’s art, story and art struggle against one another through much of this issue.

Not to continue to kick the art on this one, because truly, it is beautiful art, but McKone’s drawing of Vermin is less rat-like and more Werewolf by Night Junior-like. He doesn’t come across as overly scary, which, when coupled with Williams’ dialog of “You hear about people being attacked by a wild animal and you think, ‘It’s just a dog or whatever, what’s the big deal?’”, provides more of an ironic moment than originally intended, I’m sure.

The Spider-Man we leave at the end of this book is tired and worn thin, but given what the final page puts on us (as well as what was outright revealed to happen at the conclusion of “Fear Itself” #3) the final issue of this “Fear Itself” trilogy tie-in promises to be a doozy. I just hope it delivers.

More info:

Story by Chris Yost
Art by Mike McKone
Colors by Jeromy Cox
Letters by Joe Caramagna
Cover by Marko Djurdjevic
Publisher: Marvel Comics

[Zacharie]

Title: Suicide Girls (Click to go to the release post)
Writer(s): Brea Grant, Steve Niles, & Missy Suicide (Click to see other books from this writer released on this site)
Review source: Eric Whitman (Review 1) and Blake Petit (Review 2) (Don't click it, read the (ad-free) review here... )

" They are wonderfully realized and done with enough class as to not be regarded as smut..."
Review:
Review 1 - Suicide Girls #1

For a brand that likes to champion alternative beauty and uniqueness, the Suicide Girls comic comes off as a bit cliché and trite. Several common action movie tropes litter the dialog and there are a few sentences that use repetitive language (i.e. “And little did I know, I just needed a little help.”). It feels as if the creative team tried very hard to turn the ideology behind the Suicide Girl community into a narrative rather than having a free-flowing story through which those ideals shine. With this aspect, the script by Brea Grant ends up being heavy handed without being substantive. It's not exactly bad, but it fails to make a lasting impression. There are some shimmers of excellent writing and personality in the book, but those are never sustained. It is almost as if the writing lacks confidence. As the 5-issue miniseries moves forwards, it would be nice to see it step up and distinguish itself as a brand and as a piece of fiction.

The art team of David Hahn, Cameron Stewart, and Antonio Fabela put forth some pretty amazing work. Hahn's pencils need almost no text to convey what is expressed dexterously and professionally with the stellar visual storytelling. Everything pops to life with each expression, action, or homoerotic moment (of which there are a few). For the most part, the female character designs are athletic, but realistic with breast that don't appear to defy basic principles of physics.

This comic book also comes with a fair share of extras. There is a well written short feature by Steve Niles that delves a bit into the history of the fictitiously mythical Suicide Girls action team in their quest to stand up for downtrodden women throughout time. It shows more potential for the property as it continues. Also, there are some very nice pin-ups drawn by Cameron Stewart that are detailed to each freckle. They are wonderfully realized and done with enough class as to not be regarded as smut, but will definitely make it a title for adults.


Review - Suicide Girls #4
With several of their number in the clutches of Way*Of*Life, the at-large Suicide Girls plan one final assault on their headquarters, planning to bust out their friends, or die trying. Like the rest of this miniseries, the conclusion feels like the four writers took bits and pieces of any half-dozen science-fiction stories and pieced them together, adding extra boobs. This conclusion, in fact, feels like nothing more than the last level of a video game (with extra boobs). In fact, the climax is dependent on a confrontation with a villain who didn’t at all appear physically formidable up to this point, with a bizarre twist to justify his sudden competence and another bizarre twist for the girl that takes him to the wall. That said, as slight as the story of this miniseries was, there is some good here. Niles, the Grants, and Missy Suicide have put forth an interesting idea, casting the Suicide Girls as a force that has stood in opposition to repression for centuries, and will continue to do so into the future. It would be simple to craft new stories based around that concept in various historical time periods, which could be a lot of fun if done right. Cameron Stewart’s artwork, as usual, elevates the story well, with girls that do possess a definite unconventional beauty, which is really what the brand is all about in the first place. If IDW decides to bring the Girls back for another round, I hope they take it in a different direction.

More info:
Story: Brea Grant, Steve Niles, & Missy Suicide
Art: David Hahn, Cameron Stewart, & Antonio Fabela
Cover: Cameron Stewart

Publisher:

[Zacharie]

Title: Chew (Click to go to the release post)
Writer(s): John Layman (Click to see other books from this writer released on this site)
Review source: Eric Whitman (Don't click it, read the review here... )

Review: Chew #27

How do you make a comic about clairvoyant cannibalism even more insane? Answer: hallucinogenic frogs. Craziness itself, however, does not a good comic make. That said, Chew #27 adds an interesting take on story that continues to make it one of Image's top series.

One may notice at first a nine issue jump from last month's #18. While the creative team does a bit of backtracking in telling Tonie's story up to that point, there's some question how (or if) they will further work their way from the previous issue's deadly battle in the future. The main point, however, is the absurd sense of humor that won the series an Eisner. Much of this is based upon licking amphibians and creates almost a Fear and Loathing feel to the book. It also boast a self-contained narrative that is completely accessible to new readers as long as they get the basic concept of the series of people with culinary related super powers and banned chicken. There is also a mysterious ending that opens up for an anticipated new story direction.

Rob Guillory's art is one of the most consistently charming things about Chew. He is very deft at visual comedy, which compliments each step made in Layman's script. It is fun to see the transition over two panels of top (albeit overpaid) NASA scientists as they become drug addled hippies after a few months stationed at a remote telescope. It's wonderfully exaggerated in a way that continually inspires laughter. Two psychedelic pages in particular are completely over the top in the best of ways almost so much that it diminishes the impact of proceeding pages by comparison (not by much). While not as hilariously action packed as last issue, the series continues to be a shining example of the medium.

More info:

Story: John Layman
Art: Rob Guillory
Cover: Rob Guillory
32 Pages/FC

[Zacharie]

Title: Monster Hunters Survival Guide (Click to go to the release post)
Writer(s): J.P. Russ (Click to see other books from this writer released on this site)
Review source: James Orbesen (Don't click it, read the review here... )

Review: Monster Hunters Survival Guide #2

I have a strange affinity for prose comics. As a writer, it does seem commonsensical to be drawn towards solid prose in all forms. That is, by the way, hat we’re dealing with here. *The Monster Hunters’ Survival Guide* is one of those rare works in the world of comics that emphasizes one half of the comics’ equation over the other. It’s an odd feeling leafing through the standard sized comic to find that there is, at the most, one picture on each page. Pictures presented aren’t even use to tell a sequential story. They function more as a picture in an encyclopedia entry would.

I feel it’s fitting, however. This comic acts like a serialized version of an encyclopedia only with a focus strictly on hunting monsters. The usual criteria for evaluating a comic are a bit hard to apply to this book. I can’t really describe how the pictures and word fuse together to tell a narrative through sequential storytelling because the contents of this book are largely informative and expository. There is no narrative here and there are no characters, unless you count the various monsters that make up this title’s entries.

Entertainment wise, I’m not entirely sure I would recommend this as a type of escapism. The entries are occasionally humorous but I just wasn’t compelled to continue reading through them. I don’t want to get into the business of telling creators what’s what, but perhaps some linking material between the entries to form a pseudo-narrative would encourage readers to follow along. The voice of the “narrator” could have been fleshed out so instead of dry dictionary-lite entries, the reader could get a sense that this was compiled by a grizzled veteran with stories to tell, rather than a faceless instructor. This prose comic has promise but too much of it is squandered by trying to be an actual guide rather than a form of sequential storytelling.

More info:

Written by: J.P. Russ
Artwork by: Tyler Kirkham
Publisher: Zenescope Entertainment
Publication Date: February 02, 2011

[Zacharie]

Title: Spongbob Comics (Click to go to the release post)
Writer(s): Graham Annable (Click to see other books from this writer released on this site)
Review source: Brandon Schatz (Don't click it, read the review here... )

Review: Spongbob Comics #1

Synopsis: He lives in a pineapple under the sea. Also, there’s a monster in his cereal, and a song in his heart.

01. So I’m not sure how you feel about Spongebob. I know in general people either love him, or hate him – but you guys. YOU GUYS. Whether you like Spongebob or not, there are reasons to buy this comic. I know, I know, but just stick with me here for a second. I got some names for you, okay? Names like James Kochalka (American Elf). Like Hilary Barta (Fear Agent back-ups, America’s Best Comics). LIKE GRAHAM ANNABLE (Grickle, Puzzle Agent). Which – I know, some of those guys aren’t going to sound familiar, but go ahead and do a google search. You have almost definitely read something that these guys have done. They’re awesome, and in some cases, they seem like strange choices for a book that would have a definite model to adhere to. But man, I have to give creator Steve Hillenburg and the people at Bongo some credit. Not only do they have some definite off-model comics in this mix, but they’re pretty damn great. I mean, just seeing Kochalka do some American Elf style strips featuring the Spongebob characters is pretty neat. Really, its worth the price of this comic alone. But then, of course, there’s more.

02. Grickle creator Graham Annable offers up the first long-form story of the batch, and it’s a bit of a horror story – though, a horror story in context of the Spongebob universe. Which is to say, there’s a cereal monster, and things end in pancakes. In my experience, it’s not the kind of story we usually get from Annable, who tends to go straight for odd and often sad punchlines in his work. But again, in the context of this universe, things work out quite nicely. Later in the book, writer David Lewman teams up with The Mighty Skullboy Army creator Jacob Chabot for a tale at the Krabby Patty, in which crazy balls music comes into play. Squidward, as Squidward is wont to do, wants to play his clarinet music in the Krabby Patty – which leads to something totally different happening. And thus, his dance class is ruined forever. Which… yeah. Is very Spongebob.

03. The remainder of the book is filled with all kind of other treasures. A choose your own adventure joke page, a poster, some other indie comics style one shots… even a neat little page, showing Steve Hillenburg’s secret history with comic books. If you can find a copy of this at your local comics shop, try picking it up. It’s a neat little read. Otherwise, look for it on comic stands everywhere starting… oh, next month, probably.

More info:

United Plankton Pictures/Bongo Comics