The graphic novels loved by children and adults alike
Nov 21st, 2012, 8:40 am
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Title: The Once and Future Tarzan (Click to go to the release post)
Writer(s): Alan Gordon (Click to see other books from this writer released on this site)
Review source: Elijah Williams (Review 1) and Zack Davisson (Review 2) (Don't click it, read the review here... ;) )

" Overall a very fantastical feel to a fantastical story."

Review 1:
    Previously in The Once and Future Tarzan: - Nothing! Its a one-shot, but I can decipher from the hints dropped that there has been a societal collapse of some sort, the story taking place in a post apocalyptic style version of England. Apparently all of the past Tarzan stories are canon in this comic.

    A STORY FOR THE AGES - The Once and Future Tarzan has Tarzan as a jungle man living among the ruins of, what appears to be, England. He is apparently three hundred years old in this story, which I assume to mean he existed during the era of his inception canonically in the Tarzan lore, and has continued to exist ever since. Jane, Tarazan’s lover and companion, is immortal too. Some local villagers tell stories they have heard of his long and storied life. Tarzan stresses that some of these stories are greatly exaggerated, leaving the actual canon of the piece up to the reader. The story itself plays out kind of oddly. Its not paced very well, things happen seemingly randomly, and the villain is only introduced at the very end. They also make the villain a caricature of a hippy hating hunter type. That, coupled with a tribe of strong females and Tarzan’s love of nature and the world, shows the story’s liberal/hippy bias, which is not a problem for me personally (I admit, I have a somewhat left leaning bias), but I definitely saw how it could be a huge problem for other readers. While I am not against the idea of biases in comic, this was done so bluntly and poorly that it just brought the entire story down a peg. On another note, they end the story with quotes from Peter Gabriel’s “Down to Earth” from the movie Walle-E, which was just weird.

    FANTASTICAL ART - The art fits very well for this kind of acknowledgment of the roots of Tarzan mythos. It feels very much like art you would find in older pulp comics or in the illustrations for pulp books. The colors are bright and vibrant, not much detail is really needed, and there are no glaring errors. Overall a very fantastical feel to a fantastical story.

    BOTTOM LINE: CHECK IT OUT - If you are a fan of the Tarzan property at all, then I highly recommend picking this up. If you are not, then this will not change your mind about the property. If you are on the fence then I would recommend leaving it unless you see it in a bargain bin.

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Review 2:
    There is a certain mystique about artists who draw the Prince Valiant newspaper strip -- because frankly, they don’t hire just anyone to inherit Hal Foster’s pen. You have to have be both an incredible draftsman and anatomist, as well as able to handle the pageantry and fantasy of the series. So when I tell you that Thomas Yeates, the artist on The Once and Future Tarzan, also draws the Prince Valiant newspaper strip, that means something.

    This one-shot collects the chapters from Dark Horse Presents into a single issue. I enjoyed the story in anthology mode, but it really shines when you read it all together. I have never been a huge Tarzan reader -- never read the original books and I have only dipped into the comics a few times. But I know that his world is so much more vast than "Me Tarzan. You Jane." I don’t know how much this story connects to the established mythos, but it reads with a weight and gravity that makes me believe every panel. This story seems to take place in some post-apocalyptic future where the world has reverted to a jungle-like state with only a few industrial objects traded as reminders of the past. Tarzan is 300 years old, and the sole survivor of this past.

    As expected, The Once and Future Tarzan is just a beautiful comic. Both the art and the colors have a careful sense of deliberate choice. For my tastes, too much modern comic art emphasizes style over technique and talent -- every artist is so eager to make an impression and find their own voice they skip over the detail work. Thomas Yeates brings all of his Prince Valiant years to the table and creates something stunning. His animals are impeccable. His Tarzan a lean, muscular man grounded in actual human anatomy. His half-naked jungle women (you knew there had to be some!) are lithe and strong. They look like women who could do battle with monsters, instead of looking like strippers in a B-movie. (Oh, and there is a naked Tarzan scene, just in case anyone was wondering…)

    And his monsters -- Yeates draws some freaky, nightmare-inducing monsters. Can I say giant baby heads?

    And as much as Yeates’s art is a throwback to the days of draftsment and detail, Alan Gordon’s script is also patient and considerate. This is a comic you read, not something you flip through. You feel like you are getting your money’s worth, that you have to spend some time with this comic. Gordon gives you dialog instead of quick quips and sound bites. This is a comic for people with long attention spans. I loved all of his set-ups, and the way he moved the story from the first burnt-out convenience store to a full-fledged monster attack in a secret jungle compound. It feels like Tarzan.

    The only possible flaw I can find with The Once and Future Tarzan is that it is only a one-shot. I don’t know how long it takes Yeates to produce his incredible artwork, but I would love to see a longer series. I hope Dark Horse decides to bring them back for a five-issue Tarzan series, or put them to work on some of the Robert E. Howard properties like King Kull or Solomon Kane. This kind of diversity in art is something the comic world needs.

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More info:
    Story: Alan Gordon, Thomas Yeates
    Art: Thomas Yeates
    Layouts: albabe
    Colors: Thomas Yeates, Lori Almeida
    Letters: John Workman, Tom Orzechowski

Publisher:
    Image

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Nov 21st, 2012, 8:40 am
Nov 21st, 2012, 10:00 am
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Title: Billy the Kid’s Old Timey Oddities and the Orm of Loch Ness (Click to go to the release post)
Writer(s): Eric Powell (Click to see other books from this writer released on this site)
Review source: Iann Robinson (Don't click it, read the review here... ;) )

" Billy The Kid's Old Timey Oddities and The Orm Of Loch Ness is one of the best horror comics to come out this year."

Review:
    Billy The Kid meets Dracula. What more do you want out of an Eric Powell horror comic?

    Few things beat the hyper-reality of an Eric Powell story. The man who brought us The Goon loves to delve into the murky world of demons, black magic, mutations, the occult and all the other dark and shadowy areas we fear to tread. With Billy The Kid’s Old Timey Oddities, Powell takes the western gunslinger icon and fuses him with a traveling band of circus freaks. Where is this motely crew headed? Out to defeat a monster in the Loch, which is actually Dracula, of course. This band of freaks doesn’t know that Dracula protects the Loch, but they’re about to find out.

    Teaming with writer Tracy Marsh, Powell opens up this volume of Billy The Kid, titled The Orm Of Loch Ness, with a visit to a London pub, where a man with a clawed hand is getting drunk and fucking with people. Soon after being ejected from the pub, this man gets a ten-year-old boy drunk and then promptly slaughters him while narrating the tale of how he set up his old clan to hang for a murder he committed. Marsh and Powell aren’t kidding here folks, this is a bad place to be. Meanwhile, Billy The Kid and his band of circus freaks are being held hostage by the local townspeople who don’t take kindly to freaks they think are born of Satan.

    Our heroes escape and make their way up to the giant castle on the hill. There they meet Dracula, who greets them with warm friendship, food and shelter. What Billy’s troupe doesn’t know is that Dracula is keeping their missing comrade, aka Alligator Man, in his dungeon. Another wrinkle comes with Isadora, the beautiful tattooed girl, who finds herself attracted to prince of darkness. As the issue comes to an end, Powell and Marsh set up for all hell to break loose.

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    As always, Powell tempers his lust for freaks and horror with a sharp sense of humor. There are no jokes here, Powell is too good for anything that simple. Instead, the dark humor of the story and the dialogue permeate the entire issue. Powell and Marsh have created their own world, with its own ideas of light and dark, good and evil and even what’s funny. That structure makes everything funny but more in a way that you have to laugh because it’s so bizarre or disturbing. This is the magic that Powell possesses and, in The Orm Of Loch Ness, he and Marsh are right on point.

    While I’m sad Powell isn’t penciling The Orm Of Loch Ness, artist Kyle Hotz does a fantastic job. He posses the same eye for the creepy as Powell does, but the style is much grander, much more within the realm of horror fantasy than The Goon. Hotz uses thick lines, shadows and heavy ink to create the overbearing darkness that permeates this world. His faces are exaggerated but not undisciplined. Hotz knows what he’s doing with each panel, with each horrific freak and each bit of shadow and light. For example, the main characters and situations are penciled huge, bigger than life and very creepy. The tattoos on Isadora’s body are the exact opposite, handled with a delicate touch and great affection. Hotz feeds The Orm Of Loch Ness exactly what it needs

    Billy The Kid's Old Timey Oddities and The Orm Of Loch Ness is one of the best horror comics to come out this year.


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More info:
    Writer: Eric Powell, Kyle Hotz, Tracy Marsh
    Artist: Kyle Hotz
    Colorist: Daniel Brown
    Cover Artist: Kyle Hotz
    Genre: Horror, Humor

Publisher:
    Image

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Nov 21st, 2012, 10:00 am
Nov 22nd, 2012, 7:25 pm
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Title: Richard Castle's Storm Season (Click to go to the release post)
Writer(s): Brian Michael Bendis (Click to see other books from this writer released on this site)
Review source: Andy (Don't click it, read the review here... ;) )

" The writers did a great job moving between Storm’s internal thoughts and the actual events he is involved in."

Review:
    Before I get into the details of Richard Castle’s Storm Season I should probably give a couple of warnings. First, there will be some spoilers. Second, this is a sequel to Deadly Storm Image so if you have not read that first it will not make as much sense. However, here are the basics. Derrick Storm is the main a character in a series of best-selling novels from the main character and author of ABC’s Castle, played by Nathan Fillion. In the first season to the show Richard Castle kills of Derrick Storm after getting tired of writing these mystery/spy novels and looks for a new main character. While the show goes forward from there the Deadly Storm and Storm Season graphic novels are adaptations based on his books that Marvel has released. Assuming you’re not completely confused as to how a fictional character has graphic novels adaptations of books that have never been released in the real world let’s get into the review.

    Storm Season picks up a while after the end of Deadly Storm. Derrick Storm is still a private investigator who does occasional work for the CIA when they need things handled outside of their jurisdiction. Most of the time though he is helping old ladies get their money back after getting conned or hunting down cheating spouses. While slightly unorthodox at times he is good at his job and has a smart couple of assistants working with him. Storm Season begins with Storm’s team wrapping up one of these such cases. It nearly goes badly but they are able to pull it off. However, in doing so he sees someone he thought was long dead. He spends the next couple days trying to figure out if his mind is playing tricks on him or not.

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    Before he can make up a decision on that he is confronted by a con man who he recently had a job to get money back from. The man is not looking for the money back bot for help finding his sister who has gone missing. At this point things start to get strange as Storm is pulled into an conspiracy that will nearly get him killed…more than once.

    While the story would not make as much sense without reading Deadly Storm it still is a really fun “adaptation”. There are twists and turns as one would expect in a spy/mystery story, but the actual specifics caught me by surprise. I enjoyed it so much that I planned to just read the intro and ended up reading the whole thing in one sitting making myself late for a meeting. Whether or not you watch ABC’s Castle you should give these Derrick Storm graphic novels a try if you like fun spy stories. The artwork is well done and the writers did a great job moving between Storm’s internal thoughts and the actual events he is involved in.


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More info:
    Written by BRIAN MICHAEL BENDIS & KELLY SUE DECONNICK
    Art by EMANUELA LUPACCHINO
    Cover by DUSTIN WEAVER

Publisher:
    Image

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Nov 22nd, 2012, 7:25 pm
Nov 23rd, 2012, 9:08 pm
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Title: B.P.R.D. Hell on Earth: The Return of the Master (Click to go to the release post)
Writer(s): Mike Mignola and John Arcudi (Click to see other books from this writer released on this site)
Review source: Greg McElhatton (Don't click it, read the review here... ;) )

"Another typical issue of "B.P.R.D. Hell on Earth," and by typical I mean strong and entertaining."

Review: B.P.R.D. Hell on Earth: The Return of the Master #2
    Mike Mignola, John Arcudi and Tyler Crook's "B.P.R.D. Hell on Earth: The Return of the Master" #2 might have a low digit number on the cover, but it's also the 99th issue of the "B.P.R.D." comics to date. With next month's issue switching the numbering of the comics to #100 to help celebrate this achievement, it's a good a time as any to check in with a series that started as a "Hellboy" spin-off but has become a force in its own right.

    "B.P.R.D. Hell on Earth: The Return of the Master" #2 is up to its usual strengths; juggling half a dozen characters and situations that initially look disparate but are all starting to converge. What's nice about this issue is that if you've got a favorite storyline right now, almost all of them are touched on. Fenix and Panya's scene together is going to grab a lot of people's attention; the young nervous psychic and the ageless inscrutable mummy together feels like an extremely dangerous match, and Mignola, Arcudi and Crook somehow turn the reality into something even worse. It's a nasty glimpse of not only Fenix's power, but Panya's abilities as well, and it bodes poorly for the future.

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    At the same time, it almost feels like a distraction for everything else that's happening this issue. The body that Johann thinks will be his is ultimately the centerpiece of this storyline, and Mignola and Arcudi have given it just enough attention that it isn't slipping to one side. But when you've got visions of hell, or beings trapped in bell jars, it's understandable if you're stopping to stare at them instead. It doesn't hurt that Crook's art looks great as always; even the less flashy scenes like the appearance of Father Lazar (or that bizarre creature he has with him) show a good understanding of staging and visually hold your interest. Then, as you look closer and start seeing all of the strange legs on the mutated snake, or the symbols drawn on the bell jar, you get a strong feel for just how much work has gone into these pages.

    "B.P.R.D. Hell on Earth: The Return of the Master" #2 is another typical issue of "B.P.R.D. Hell on Earth," and by typical I mean strong and entertaining. Arcudi, Mignola, and Crook are turning out strong comic after strong comic, and this issue is no exception. With #100 just around the corner, this mini-series is as good a chance as any to say, "I was reading it back in the day, before it hit the triple digits." Fun stuff.


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More info:
    Writer: Mike Mignola, John Arcudi
    Artist: Tyler Crook
    Colorist: Dave Stewart
    Cover Artist: Ryan Sook
    Genre: Action/Adventure, Horror

Publisher:
    Image

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Nov 23rd, 2012, 9:08 pm
Nov 24th, 2012, 8:25 am
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Title: Stephen King's N (Click to go to the release post)
Writer(s): Marc Guggenheim (Click to see other books from this writer released on this site)
Review source: Andy Bentley (Don't click it, read the review here... ;) )

" Whether you check out the original novel, the webisodes, or this comic adaptation, I doubt you'll be disappointed. "

Review: Stephen King's N #1
    Stephen King has had several successful comic book projects as of late; however, few fall into his most beloved genre of horror/suspense. That type of story is difficult to achieve in comics, where the reader is in charge of the visual pacing and a glance across a panel can ruin a surprise. Luckily, Marvel enlisted top talent for N -- namely, Marc Guggenheim and Alex Maleev – who offer up an intriguing story filled with both ancient and modern day paranoia.

    This book marks the second adaptation of the novella N., the first being a series of webisodes by the same creative team. For the comic, the creators have returned to using character written documents as a form of narrative, which is how King originally told the story. This postmortem way of delivering details immediately gives the story a mysterious feel. Maleev makes these documents as photorealistic as possible, which gives them a sense of weight and genuineness. However, because a comic book full of illustrative documents wouldn't be that exciting, the story quickly segues into sequential art.

    As psychiatrist John Bonsaint treats a patient only known as "N.", details such as Ambien, OCD (obsession compulsive disorder), and digital cameras emerge that root the story in modern times. The patient's fear and anxiety, however, stems from an ancient artifact seemingly connected with a murder committed in the 1900's. King deftly interweaves past and modern fears by posing the question "what if the fear felt by OCD victims was truly a guard to protect the world from harm?" It is established that Bonsaint has perished after treating "N." and his wife believes the case led to his suicide. The implication that N's disease could be transmitted like an infection is quite disturbing.

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    The quintessential scene of the book involves the event that sent N. into an obsessive compulsive state. In a flashback, N. comes upon a series of stones out in Ackerman's field which happens to be close to where Bonsaint grew up. The stones evoke the memory of Stonehenge, an artifact that also has supernatural elements. The reader is only given a brief glimpse of the event which offers more questions than answers. This leaves the reader anxious to learn of their true nature. The book ends on N.'s apocalyptic vision of things to come which allows Maleev to let loose on a two-page panel. His choice of color to invoke mood throughout the issue is superb.

    N. shares a lot of elements with the hit television show LOST, which makes sense considering that the writers are huge Stephen King fans. King, via Guggenheim, taps into our nature to seek answers to the unexplained while also exploring our inherent fear of mental illness. Whether you check out the original novel, the webisodes, or this comic adaptation, I doubt you'll be disappointed.


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More info:
    Script: Marc Guggenheim
    Art: Alex Maleev

Publisher:
    Image

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Nov 24th, 2012, 8:25 am
Nov 25th, 2012, 11:22 am
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Title: Chasing The Dead (Click to go to the release post)
Writer(s): Matthew Scott and Tim Westland (Click to see other books from this writer released on this site)
Review source: Tommy Lutz (Don't click it, read the review here... ;) )

" This is a good mystery story that may fall flat because of its predictability."

Review: Chasing The Dead #1
    Chasing The Dead #1 is a new four-part mini series form IDW based on the novel by Joe Schreiber of the same name. It is an interesting horror/mystery thriller comic with a slow pace, but a dark undertone laced throughout the entire issue.

    The comic starts off with two children playing in a park, arguing about why they shouldn’t be there. Apparently there is a serial killer on the loose in Gray Haven and he only takes children twelve and younger. The young boy, Philip insists that he will protect her if the murderer comes around. Turns out he does come around, and young Philip keeps his promise and protects Susan, stabbing the large man with his own knife. The plot thickens when it becomes apparent that this is no regular man.

    Jump forward twenty years or so, and Susan is a successful real estate agent who had a daughter with Philip, but they are no longer together. She receives a mysterious phone call, and she thinks nothing of it. When her daughter is missing from her home, the same voice calls again and tells her he has her daughter, Lily and the babysitter. He gives her a specific set of instructions that take her back to Gray Haven to face the past she wanted to forget.

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    The writing team of Matthew Scott and Tim Westland do a good job adapting this novel. I say that, but I haven’t read the novel. I guess what I’m saying is they did a good job writing this into a comic. The story is very interesting, with a good dark plot going. The only problem is the predictability of it all. Mysterious phone call, daughter goes missing, I know what you did last summer setting. It is a good story, but ti doesn’t give much life to our protagonist. The only compelling part of her is that she is trying to save her daughter. I hope we will see some good character development in the next three issues.

    The art isn’t the strongest I’ve ever seen, but it does shine through more often than not. A lot of the facial expressions are one extreme to the next with no variables. Susan is either in utter horror or blank faced. Neither expression ever seems fitting for the situation either. Another scene where she slips on some ice is a lot out-of-place, scale is off and her anatomy is goofy. Other than that, it’s a decent looking comic.

    This is a good mystery story that may fall flat because of its predictability. There are some good underlying plots happening, and the story is interesting. I just hope I can’t predict every angle before it happens.


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More info:
    Story by Matthew Scott, Tim Westland
    Art by Dietrich Smith
    Cover by Dietrich Smith

Publisher:
    Image

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Nov 25th, 2012, 11:22 am
Nov 25th, 2012, 5:13 pm
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Title: Colder (Click to go to the release post)
Writer(s): Paul Tobin (Click to see other books from this writer released on this site)
Review source: Lonmonster (Don't click it, read the review here... ;) )

"After a satisfying beginning, I’m looking forward to getting some answers."

Review: Colder #1
    As a supernatural thriller, Colder #1 is packed with creatively smart threads and a menacing antagonist to boot. After the intense opening pages, the story deliberately slows down its pace and focuses on its characterizations. This is a twisted story about a well-adjusted young man who suddenly realizes he might be insane. How do you trust someone who isn’t sure if he is crazy or not?

    Many years ago, the inhabitants of an insane asylum were trapped inside a blazing fire. A mental patient, Declan Thomas, became the sole survivor of the deadly inferno, but everyone involved suspects he may have caused the fire. Ever since that horrible night of screams, Declan’s body has been mysteriously changing. Though he never gets sick or feels pain, Declan’s body temperature is slowly dropping. Time is running out for Declan as his temperature steadily reaches towards zero.

    What’s interesting is how Paul Tobin starts off the story as a psychological thriller, then follows it up as a character drama. In the opening pages, Declan suddenly sees an evil entity coming out of a hole in the wall, as if traveling from one dimension to the next. Could all this be happening inside Declan’s mind? Or, is he really seeing something no other sane person can? With the premise established, the narrative then switches over to a character drama about Declan’s nurse. This is a deliberate change of pace as Tobin takes time establishing Declan’s nurse, who is quite likeable and well-grounded, completely opposite of her patient. Tobin gives readers a chance to fully understand how she fits into Declan’s regular life and what her relationship is to him.

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    What stands out the most is Jack Nimble Jack, who makes for a worthy antagonist. Jack Nimble can either be seen as a devilish prankster or a sadistic killer. Could Declan have a split personality and Jack Nimble be his alternate persona? During his introduction, Jack crawls out of his hole like a spider. After years have passed, Jack’s movements are more human-based as he stands on his own two feet and wears a business suit. Jack’s first murder echoes one of the kill scenes from the original Nightmare On Elm Street In his artwork, Juan Ferreyra illustrates a creepy facial reaction from Jack whenever he flashes a smile. Like a circus performer, Jack contorts his body into exaggerated positions as if he’s presenting a show before his murders.

    The opening pages start out with a bang. When the mental institution is being burnt down, Ferreyra depicts the chaos as the nurses are running around and screaming for their lives. In the midst of the destruction, some of the mental patients are actually enjoying the fire. In the second half of the story, Tobin has to go through a lot of exposition. Through medium and wide shots, Ferreyra keeps the panels engaging as the police officer and Declan’s nurse are having a regular conversation. Always active, these characters are constantly moving around in a single location. It is quite impressive how Ferreyra can make these day-to-day situations look interesting, even though there is no scare or action taking place.

    “Colder” #1 is an effective supernatural/psychological thriller with a few great scares. More importantly, it brings up many questions about the state of mind of the narrator, who always seems unhinged. After a satisfying beginning, I’m looking forward to getting some answers.


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More info:
    WRITTEN BY: Paul Tobin
    ART BY: Juan Ferreyra

Publisher:
    Image

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Nov 25th, 2012, 5:13 pm
Nov 29th, 2012, 10:21 am
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Title: B.P.R.D.: 1948 (Click to go to the release post)
Writer(s): Mike Mignola and John Arcudi (Click to see other books from this writer released on this site)
Review source: Lonmonster (Review 1) and Brian Salvatore and David Harper (Review 2) (Don't click it, read the review here... ;) )

" This book has a whole lot going on, and I’m not great at gleaning its big picture just yet."

Review 1:
    Mike Mignola’s B.P.R.D. universe has really been pushing the “Hell on Earth” event leaving little else new to occupy the shelves. This week that changes with the first instalment of a 5-part mini series entitled B.P.R.D 1948, which takes off right where “1947″ left us; this brings back some classic characters like Professor Trevor Bruttenholm, Agent Anders, Agent Stegner and the 4 year old Hellboy. This book delves into testing atomic bombs for rocket propulsion in Utah desert and its relation to the appearance of a massive monster, just a day in the life for the average B.P.R.D. employee. The series is meant to evolve the history of B.P.R.D coming away from Europe and Nazis, but unfortunately, this issue offers little in the way of action and excitement.

    This book starts off at slow pace and doesn’t budge from there, getting the reader re-familiarized with the different characters and the current post World War II situation. With a jump through time to 1983, we learn about the newest addition to the story; the beautiful and brilliant physicist Anne Rieu. The reason the Bureau is called has to do with the appearance of a massive monster that is potentially coinciding with low grade and high atmospherical atomic bomb testing to simulate rocket propulsion to the moon. As the story plays out, it appears there is more going on with Anne, the bomb, and the monster than what is on the surface of the story. This book sheds light onto the early B.P.R.D. world, acting as a bridge between present day and its past. While it is only issue #1 of a 5-issue arc, this book is slow burn that doesn’t live up to the current goings on in the “Hell on Earth” event.

    The art of this book by Max Fiumara is what I’ve come to expect from this series, sketchy lines and pale colours give the book an eerie feeling. I wouldn’t have it any other way. This issue also features a young horned Hellboy, which since his death in later years is always a treat to come across. Well depicted and the use of vibrant colour spotting for such things as Hellboy and the eyes of the massive monster are subtle creative gestures that go a long way.

    This book kick offs what may be the final in the pre-modern era B.P.R.D., taking a substantial twist from its 1946 and 1947 predecessors focusing more on North America as well as taking a science fiction style. If this is the last of the B.P.R.D. history, it lacks the punch it needs to become a classic within Mignola’s work. The story better seriously start to vamp up in coming issues.


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Review 2:
    This pleasant detour into the past rolls on, with Li’l Hellboy, Varvara, and the whole gang interacting with the Greatest Generation!

    As the battle between the atomic-bred monsters and the B.P.R.D. rages in the Utah desert, Professor Bruttenholm and the agents successfully kill one of the beasts and conduct an autopsy with horrifying results.

    Brian: Last time we were discussing this mini, we had the pleasure of being side by side, between two ferns at New York Comic Con. Sadly, now a continent divides us, and there are no ferns on my end at all. However, my enjoyment of this book has grown in a very fern-like way since last month. This issue, to me, is a much more satisfying one than its predecessor. What do you think?

    David: I miss your musk! Your fern-infused musk!

    But, on a less odd note, I agree entirely. I liked last issue. I thought this was one was a large step up though, and exceptional overall. I think the thing that really stretches throughout this and makes it pretty amazing is this strange, palpable sense of doom and foreboding throughout. I think if a comic is really, really good, you can almost feel it. This has a very real feeling of something impactful and bad coming the way of our heroes. Am I crazy in that regard? It’s something unquantifiable that I think is really exceptional.

    Brian: I agree wholeheartedly; this comic feels like the sky right before a storm, where everything looks foreboding. Each corner of the story has its fear level amped up: Truman is coming, Anders is acting insane, the Professor leads a trip into the field unarmed. Every page turn in this issue had me expecting an explosion waiting for me. The dread was palpable.

    Let’s talk plot a little bit – despite being two issues in, the overall plot hasn’t exactly coalesced yet. How do you see all these elements coming together?

    David: Frankly, I have no clue. That’s the weird thing about this one. Typically by the second issue the overall architecture of a B.P.R.D. mini is starting to come into focus. Maybe not all of it, but you can see the big picture. For this one, I got nothing.

    So far, it doesn’t bother me because I am enjoying the character interactions so much. I love seeing Bruttenholm annoyed at Varvara (VARVARA!) because she has his love pegged (which is great too). I love Pamcakes Hellboy around and the way the base dotes on him. Anders…he’s just a complete wild card, and that one scene in the shower makes me really wonder how he’s going to fit in.

    Brian. I just don’t even know what to say. I really, really liked this issue, but I am completely at a loss as to what it will ultimately be all about and where it will go. Do you have a definite idea? Am I crazy? This book is a weird one.

    Brian: I’m with you, man, I have no clue how this all ties together! But you are right, there are a slew of great character moments here, and I am enjoying being dropped into this world, so the plot seems secondary at this point. This is a longer mini than we normally get (3 issues seems to be the norm for B.P.R.D. lately), so perhaps by next issue things will coalesce a little more.

    One thing that needn’t do much changing is Max Fiumara’s art. Good grief was it spectacular this issue. From the innocence of Li’l Hellboy to the savagery of slaughtering the bear-like creatures, Fiumara hit every note perfectly. Dark Horse is really knocking it out of the park in terms of finding artists for these minis. What say you?

    David: Yeah, I think Max is getting more and more comfortable the more he works in the B.P.R.D. world. This issue was his best yet, and there were some really beautiful shots. My favorite were the opening panels, as the B.P.R.D. field agents with after the Bear Pig Men. There were two awesome panels of them making it rain gunfire, and the white space in the middle was of their shells/ammunition sprinkling into that white space. It was really effective work.

    And yeah, they are great at finding people to work on this. I think it’s some mix of Mike, Scott and John tracking them down, but it always seems that they find gems to work on this book. I can’t really think of anyone whose work I didn’t enjoy.

    So do you have anything else to add to the equation, besides the fact that a) this was a great issue and b) VARVARA!!!?

    Brian: My only other real point of discussion is something I literally just remembered, which is that “B.P.R.D.: Vampire” is supposed to lead directly out of this book, which makes the book even more of a clusterfuck in terms of story – where does a vampire fit into this? Again, I am enjoying this, so it is somewhat a moot point, but this book has a whole lot going on, and I’m not great at gleaning its big picture just yet.

    David: That makes sense to a degree. I mean, both 1946 and 1947 had vampire connections. You have to think that 1948 would eventually connect with those, and if it’s connecting to Vampire, then it only makes sense that the tie would be vampires. I think, given that we’re only two issues in, the idea that we have a good story so far with no idea where they’re going to go isn’t a huge deal to me. Maybe now that we know vampires will be involved, there is a small puzzle piece on the other side, but I’m fine without having much of the big picture yet.

    So Brian, for this great yet highly mysterious story, what grade will you give it?

    Brian: I think 8.0 is where I’m settling down on this one. Again, this is damn solid work, but I wish we had a bit more of a roadmap. How about you?

    David: I’ll go with an 8.5. I guess we can think of it as the second fifth of a movie. If I were watching a movie and the second fifth was great and I didn’t know where it was going completely still, I think I would still really dig it. But I’d have to demerit it a bit. I think minus 1.5 is fair enough.

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More info:
    WRITTEN BY: Mike Mignola and John Arcudi
    ART BY: Max Fiumara

Publisher:
    Image

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Nov 29th, 2012, 10:21 am
Nov 29th, 2012, 2:27 pm
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Title: Edgar Allan Poe’s The Conqueror Worm (Click to go to the release post)
Writer(s): Richard Corben (Click to see other books from this writer released on this site)
Review source: Lonmonster (Don't click it, read the review here... ;) )

" A memorable picture of the literary genius like no other."

Review:
    The weird and supernatural is pulled off with gritty style in Richard Corben’s adaptation of Edgar Allan Poe’s The Conqueror Worm. On a visual level, this adaptation of Poe’s work is a highly imaginative interpretation about the inevitability of death. With just one look Corben’s artwork, these haunting images of worms and death will definitely get under your skin.

    Under the sweltering heat of the sun, Colonel Mann rides across the never-ending desert on his horse. Compelled with the need for revenge, Mann continues on his journey, never stopping to eat and rest. Mann feels the thrill of satisfaction when he cold-heartedly murders his cheating wife and his rebellious cousin. With no one around to witness the crime, Mann thinks he’s getting away unpunished and blameless. But, fate has something special stored for Mann.

    This is a unique adaptation of Poe’s famous poem, “The Conqueror Worm.” If you have read the poem, you understand that this piece is difficult to adapt. If you haven’t read it, do it now. There is very little story, just atmosphere and mood. What I really lik is how Corben works with Poe’s themes to offer a morality tale, which is similar to his previous work in the “Eerie” and “Creepy” anthologies. Corben plays around with some of Poe’s lines, bringing to life the theater, the play, and the puppets.

    What I particularly enjoyed is how Corben brings in a Shakespearean twist to the climax. Just like in Hamlet’s “The Mousetrap,” the hand puppets reveal to the audience what really happened to Mann’s missing wife and cousin. Through gestures and props, the hand puppets re-enact the murder in front of the killer. To create suspense, Corben does a great job switching back and forth between the puppet show and the audience’s reactions.

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    What makes Corben’s hand puppets particularly creepy is the simplicity behind their design. These sock puppets don’t have detailed physical features, just three buttons for one facial expression. The designs are crude and minimal, making the puppeteer all the more mysterious. During the play, the puppetry is animated with grand hand waves and over-the-top black humor.

    Saving the best for last, Corben kicks up the shock value during the final act of the puppet show. Corben visualizes the Conqueror Worm as parasitic invaders spewing out of a woman’s stomach like intestines. Take notice of the patch on Mann’s face because you might not notice this small detail the first time.

    With a strong sense of tragic irony and an exaggerated flair for the dramatic, Richard Corben delivers a truly terrifying interpretation of Edgar Allan Poe’s “The Conqueror Worm.” By staying true to the source material, Corben brings a sense off surrealism to Poe’s work. Admirers of Poe cannot deny how Corben’s artistic style provides a memorable picture of the literary genius like no other.


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More info:
    WRITTEN BY: Richard Corben
    ART BY: Richard Corben

Publisher:
    Image

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Nov 29th, 2012, 2:27 pm
Nov 29th, 2012, 4:19 pm
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Title: Elvira The Mistress Of The Dark (Click to go to the release post)
Writer(s): Richard Howell (Click to see other books from this writer released on this site)
Review source: D. Aviva Rothschild (Don't click it, read the review here... ;) )

" If you like in-your-face humor, this book's for you."

SYNOPSIS:
    For those of you who don't know or don't remember, Elvira (nee Cassandra Peterson from the horror-city that is Colorado Springs) is a TV host famous for showing and commenting upon bad horror movies. This book reprints nine of her "most outrageous and amusing adventures from the early issues of her Claypool Comics" (1993-1994). It starts with a foreword by Paul Dini (Emmy-award winner for animation writing and co-winner of the Eisner and Harvey awards, among others) and an introduction by Richard Howell that details how Claypool came to publish this high-profile series after the rather disastrous previous comics appearances of Elvira via Marvel and DC. Howell also provided a cheery afterword about subsequent Elvira issues.

    The stories are "real-world" experiences of Elvira with varying levels of pure fantasy. For example, the first story in this book deals with Elvira's struggle with the new station manager, Rosalind Wyck, who wants to get rid of her but can't fire her for contractual reasons. Rosalind thus attempts to make Elvira look foolish by forcing her to host a variety of inappropriate shows, including a cooking show and a kid's show. But by doing her trademark schtick, Elvira is a hit in each venue, and Rosalind is ultimately carted off to the funny farm. On the other hand, the two-part "Curse and Tell" teams Elvira and a teenage boy ("Talbot Lawrence III") who turns into a werewolf when he gets lustful. They seek to end Tad's curse by confronting the gypsy who bestowed it upon him, but Elvira ends up getting shrunk and added to the gypsy's collection of tiny wizards whose powers feed the gypsy.

    Other stories cover Elvira's high school reunion; a naive angel's attempt to show a sleazy producer how the world would have been worse off without him (except that it would've been better. Let's put it this way: this guy was responsible for the bad reputation of "Alan Smithee," which is a joke you won't get unless you know something about the movie industry); Elvira's interesting encounter on a whale watch; the return of Rosalind Wyck; the introduction of another of Elvira's recurring nemeses, Spooky Suzie Knight; and a Christmas party where Elvira livens up the proceedings with "a good old nonalcoholic family treat--brewed up special from my great-aunt's recipe books. It's refreshing! It's tasty! It's free!" Among other things, this lively episode includes a nod to the Pinis and Elfquest: Elvira appears as one of Santa's elves and says, "At least if I worked for the Pinis, I'd get to carry a sword and stab people!"
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EVALUATION:
    What a pleasant surprise this book was! All too often books based on "real" characters are timid and deferential. (Look at how the Marvel and DC versions flopped.) But not this one. It's another first-class humor title from Claypool. The jokes aren't quite as pointed as those in Soulsearchers and Company, at least not in some ways. Still, the book is very entertaining, in large part because of the character of Elvira. Self-confident and in control in that Bugs Bunny way (and I mean this as a compliment), she is also self-deprecating (which I love) about her talents and her looks. It's very nice, though, to see her take command of just about every situation she gets involved in. You know she'll win and that she'll do an excellent job of taking the starch out of her enemies/detractors. Again, as with Soulsearchers, each story is introduced by Elvira. This time, the introductions cover real-world details about the stories, such as where certain characters debuted or the fact that the real Elvira inspired a particular story (the high school reunion one). I really like this technique.

    Yes, there are a lot of breast jokes, both verbal and visual, but at least Elvira is up front about it. (Sorry.) The character makes nearly all the jokes herself and is fully aware of the effect of her chest on men, which gives her control over the situation. Contrast this attitude with your typical big-tits dead-serious superheroine (which is an asinine concept to begin with, given the typical physical endowments of female athletes) who is drawn solely to fulfill masculine fantasies. As far as I'm concerned, if you're gonna do this, you might as well have fun with it.

    The black-and-white art (by old pros Neil Vokes, Jim Mooney, Dave Cockrum, and Ricardo Villagran, among others) is excellent and playful. Regardless of artist, Elvira comes across looking right, which is all you can ask.

    If you like in-your-face humor, this book's for you. This title should be quite popular in most collections, and obviously Elvira fans are urged to rush out and buy it


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More info:
    Written by Richard Howell, Paul Dini, and Kurt Busiek.
    Illustrated by various.
    GENRES: Fantasy; Popular Culture; Humor
    AUDIENCE: Adults, teens, older kids; mildly adult situations

Publisher:
    Image

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Nov 29th, 2012, 4:19 pm
Nov 29th, 2012, 5:59 pm
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Title: Fly The Fall (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: Scorpio Moon (Don't click it, read the review here... ;) )

" Fly: The Fall #1 is a complete enough package to bring me back for issue two"

Review: Fly: The Fall #1
    Fly is back! Fly takes place in a world where superpowers are an experimental designer drug, and in that world there are more victims than there are heroes. The Fall is a follow-up series to the original, which was popular enough to earn its sequel before the five issue run was complete. This new number one continues the story, but focuses on different aspects. For this reason I think a reader new to the franchise can pick it right up. There’s enough of an introduction to each thread, but there’s more to enjoy if you’re familiar with the story. I’ll give you a quick rundown, so spoilers shall ensue, both for the first run and this issue!

    Eddie Patron has a chance encounter with Francis, who pays him back for an act of kindness by sharing from his father’s secret stash of the book’s namesake, a drug called Fly. Eddie turns his romantic interest Danielle on to the drug, and it becomes a craving that she can’t turn off. Her resulting madness endangers everyone around her, and ultimately ends with her death. As this all plays out, a mysterious figure that seems to have natural superhuman abilities kills Francis’s father, blaming him for the death of his daughter from the drug. He plans to kill Francis as well but decides to punish him for the sins of his father by making him live with his grief. Francis grows up determined to have revenge at any cost.

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    We enter Fly: The Fall #1 right where the last issue left off, with Danielle’s death. We’re introduced to Eddie as equally self-destructive even without the fly. We meet the alter ego of the violent superhuman vigilante, and his traumatized wife who can’t find the strength to go on. This issue really is a whole new starting point, so while the flashbacks do continue some parts, it’s very much an establishing issue. Therefore the pacing is a bit slow, but it also has a sort of otherworldly vibe. We see Francis watching and influencing events from behind the scenes, setting him up as a power player in this universe now. The visual art is consistent throughout the issue. The effects are evocative of pastel watercolors, but with a fine mechanical separation. This scheme contributes to the ethereal feel.

    There are four covers. The first is reminiscent of Adam and Eve, perhaps alluding to a loss of innocence. The second is the most overtly sexualized, featuring fish net tops and a pert butt emerging from a short skirt. The third is tragic. Danielle is bloodied and dead, with torn clothes and lifeless skin. The last is my favorite. She’s relaxing in her bikini, on the wing of an airborne plane! It’s the breezy kind of fun cover that really would make a perfect pin-up. The sexuality continues inside the book, with a very fine shower scene and a surprise character showing up at the end rocking an excellent power skirt! Will this character have enough panel time to make her stand out among the lovely ladies of Zenescope? I don’t know, but Fly: The Fall #1 is a complete enough package to bring me back for issue two. Speaking of which, we also have a sneak preview of the next issue!


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More info:
    Written by Raven Gregory
    Pencils by Robert Gill
    Colors by Mike Stefan

Publisher:
    Image

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Nov 29th, 2012, 5:59 pm
Nov 30th, 2012, 12:13 pm
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Title: Before Watchmen: Moloch (Click to go to the release post)
Writer(s): Michael Straczynski (Click to see other books from this writer released on this site)
Review source: Greg McElhatton, (Don't click it, read the review here... ;) )

" This is for Risso die-hard fans only."

Review: Before Watchmen: Moloch #1
    When the "Before Watchmen" project was first announced, one of the numerous objections brought up was the question, "What's the point?" With some of the characters, you can see where readers might be interested in seeing their earlier stories (most notably the Minutemen), at least. But reading J. Michael Straczynski and Eduardo Risso's "Before Watchmen: Moloch" #1, all I could think is, "I can't imagine there being any demand for the secret origin of Moloch the Magician."

    Moloch was a character that was only defined by two features in "Watchmen." First, his deformity meant that (with the notable exception of Dr. Manhattan) he was the closest the comic got to a costumed character that differed from the normal human form. Second, as the only "super-villain" kicking around, he served as a red herring. But Alan Moore and Dave Gibbons didn't seem to have fleshed out the character at all beyond that, and this comic reminds us that he was, at his heart, a one-dimensional character.

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    Straczynski's script is extremely by the book. There isn't a single character beat or moment that you haven't seen coming: rejected by family and peers, obsessed by magic and escapes into it, uses his tricks to gain revenge on those who wrong him, turns to crime and prostitutes but still never finds happiness. Perhaps the bigger problem with the script, though, is that there's no real style or flair that could somehow make this story stand out despite its basic trappings. The narration is unmemorable and there's nothing in the writing that stands out.

    Risso's art at least looks great as always, although it's his jaw-dropping cover that is the high point of the comic. With the shadows hiding all but his turban, blood-stained gloves, cards, and eyes, those elements pop out at the reader and feels a little unsettling. Risso's a master of the comic medium, and this cover reminds us of that simple fact. The interiors are good too, mind you. Risso and frequent collaborator Trish Mulvihill turn out some beautiful pages; the soft hues match with Risso's gentle lines in the carnival scene, by way of example. With the semi-shadowed form of the magician and his assistant standing as a silhouette in front of the crowd, it's a moment that grabs your eyes and makes you stare. Little moments like a sword going through a coffin jump out at you and make you stop and linger, and it's a reminder that Risso's art makes everything a little better.

    "Before Watchmen: Moloch" #1 feels like a comic that has no purpose. I'm always in favor of new art from Risso, but that's not enough reason to push this through the publication schedule. There's no hook here, nothing that makes you think, "I can see why they wanted to publish this comic, too." This is for Risso die-hard fans only.


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More info:
    Story by J. Michael Straczynski, John Higgins
    Art by Eduardo Risso, John Higgins
    Colors by Trish Mulvihill, John Higgins
    Letters by Clem Robins, Sal Cipriano
    Cover by Eduardo Risso, Matt Wagner, Jim Lee,

Publisher:
    Image

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Nov 30th, 2012, 12:13 pm
Nov 30th, 2012, 1:37 pm
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Title: Number 13 (Click to go to the release post)
Writer(s): David Walker (Click to see other books from this writer released on this site)
Review source: Nick Verissimo (Don't click it, read the review here... ;) )

" This should turn into a worthwhile read, even for those tired of that whole wasteland, thing."

Review: Number 13 #0
    Robert Love and David Walker’s new series, Number 13, might have that all-too-familiar ultra-stylized, wasteland aesthetic, but when it comes right down to it, the setting does not necessarily tell the tale of the tape. Rather than being just another post-apocalyptic book; it feels very much like Love and Walker knew that their story had to be completely character-driven and must use compelling, albeit universal, themes of self-discovery and worth to be identifiable. The book works without feeling too familiar and while there definitely could be a little more to chew on, this is definitely a solid issue 0 from the team.

    Sharing his name with the title of the book, Number 13 is an android with a damaged memory core, searching the world with one directive; to find his father. While it is revealed that his name actually refers to the sequence in which he was built, Love and Walker take away a certain air of mystery from the story by discussing what that number means and then mentioning what he was actually built to do. While this will be a fairly limited, four-issue mini-series, I did hope to be left in the dark a little more. Whether or not Love and Walker are pulling the wool over our eyes and misdirecting us with the actual objective of these androids; it would have been nice to come to discover who Number 13 is at the same time that he does. It’s an interesting choice to integrate this information so early and I can’t help but wonder whether or not the short length of the series forced their hand in having an unearned reveal such as this. This isn’t to say that it ruins the book by any means as, if anything, it sets up where the rest of the story will go.

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    Going back to my earlier comments, this is definitely a character-driven story with a great narrative style. You really get inside the heads of some characters and find out what they are made of without having to really have them talk all too much. You get a solid understanding of the world and its accessibility works in strides. It doesn’t feel like hard sci-fi and as such, makes it a little easier for people who aren’t out and out fans of the genre to disengage themselves from the proceedings, because that layer isn’t too hard to break through. Similarly, some of the character designs aren’t too outrageous, so it makes getting into a little bit easier. While this might not sound too appealing for someone who wants that hardcore wasteland tale; the strength really is in becoming engaged by the writing itself and wanting to know what’s coming next.

    Issue 0 of Number 13 is a near perfect entry to this mini-series. It hits all the right notes on creating a world new, but I definitely would have liked a little bit more mystery to who Number 13 is. This doesn’t feel like anything terribly new, but it should find a home with those who enjoy character development first and a fleshed out world second. This should turn into a worthwhile read, even for those tired of that whole wasteland, thing.


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More info:
    Writer: Robert Love, David Walker
    Artist: Robert Love
    Colorist: Michelle Davies, Diego Simone
    Cover Artist: Robert Love

Publisher:
    Image

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Nov 30th, 2012, 1:37 pm
Nov 30th, 2012, 4:04 pm
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Title: Whore​ (Click to go to the release post)
Writer(s): Jeffrey Kaufman (Click to see other books from this writer released on this site)
Review source: Bill Sherman (Don't click it, read the review here... ;) )

" Violent, foul-mouthed and packed with panels of dames with outsized cleavage,"

Review:
    One look at its title and cover (hunky hard-boiled hero Jacob Mars holding a pistol as he sits on and is flanked by naked babes), and it’s clear that Jeffrey Kaufman and Marco Turini’s Whore (Big City Comics) is not your All-Ages mainstream graphic novel. Its amoral protagonist, Mars, is a “selfish, self-indulgent, semi-homicidal narcissist,” an assassin downsized from the CIA and forced to scramble to maintain his overpriced lifestyle by taking on dubious free-lance assignments.

    Our anti-heroic Michael Weston also proves a target for a variety of unfriendlies, who he thankfully gets paid for taking out by his mysterious new contractor. Mars’ first assignments include protecting a gay ‘tween idol from his record company and acting as bodyguard for an entrant at a Westminster-styled dog show, but his most outlandish free-lance assignment is to impregnate the daughter of a Saudi prince who wants to raise the resulting progeny to kill the ex-CIA agent. “I am officially a whore,” Mars thinks after dickering his fee upwards on this last.

    Violent, foul-mouthed and packed with panels of dames with outsized cleavage, Whore at first seems to be little more than a disconnected series of vignettes—an impression enhanced by the non-essential guest spot of the Charles Angels-styled heroines from writer Kaufman’s earlier Terminal Alice GN—until the book’s final pages where the script pulls it all together. Artist Turini has the appropriate slick eye for this entertainingly cynical adult actioner (though occasionally his busty babes display some pretty alarming teeth), and the dirty-minded witticisms flow freely. In one credulity sapping sequence, our man has a one-on-one round with the President, who he chastises for not bringing the Afghanistan troops home, and knocks on his ass. “I’m surprised that one of my guys didn’t shoot you,” Barack tells Mars. We’re not at all surprised, though...

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More info:
    Written by Jeffrey Kaufman
    Art by Marco Turini

Publisher:
    Image

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Nov 30th, 2012, 4:04 pm
Nov 30th, 2012, 5:43 pm
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Title: Baltimore: The Play (Click to go to the release post)
Writer(s): Mike Mignola and Christopher Golden (Click to see other books from this writer released on this site)
Review source: Gore Jones (Don't click it, read the review here... ;) )

" A great story with a fantastic crew putting it together."

Review:
    The story of Lord Henry Baltimore, the title character in the aptly named comic book Baltimore, is a horrifically tragic tale. Lord Baltimore was a captain in World War I. He led a battalion into battle only for everyone to be slaughtered, except Lord Baltimore. On the brink of death and very badly wounded, Lord Baltimore awakes to witness giant bat creatures eating the remains of his comrades. One of the monstrous bats attempts to eat Lord Baltimore. Baltimore slashes the creature’s right eye out, scarring it. In return, the creature slices at Lord Baltimore’s left leg, mangling it. The creature that Lord Baltimore blinds is so furious about losing his eye, that he unleashes a plague upon warring Europe. Little does anyone know that the plague is an indirect form of vampirism. Those unfortunate to be infected, rise up and become vampires. After being saved and having his leg amputated and replaced with a wood jointed peg, Lord Baltimore returns home to find his family is dead from the plague, and his wife is murdered by Haigus, the Red King vampire, the vampire bat who attacked Baltimore and the reason behind the mysterious plague.

    Baltimore is now a man with only one mission in life, the death of Haigus. That’s the premise of the Baltimore story. Lord Baltimore is out to get his revenge on Haigus and save the world from the vampire curse. Lord Baltimore unfortunately doesn’t understand just how powerful and resourceful Haigus is. In the two story arcs published so far – The Plague Ships and The Curse Bells – Haigus has managed to escape from Lord Baltimore at the last second. In this new one-shot, Baltimore: The Play, Haigus is funding a play, ‘La Morte Rossa Trionfante’, which means ‘The Red Death Triumphant’. The title is taken from Edgar Allan Poe’s short story The Masque of the Red Death, a tale about a prince who tries to hide from a plague known as the ‘Red Death’ that’s sweeping across Europe. The actors in Haigus’ play are all vampires and while the play is in town, the local population begins to dwindle as the mysterious plague starts to spread and an undead army grows. Hot on his heels, Lord Baltimore follows the trail of the “one-eyed devil with a scar on his face.”

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    Christopher Golden and Mike Mignola continue to co-write this epic tale of the never-ending battle of good versus evil in this 13th issue of the Baltimore series. Unlike Hellboy or members of the B.P.R.D, Lord Baltimore has no sense of humor. He’s a straight forward revenge-driven bad-ass. Although Lord Baltimore may not have a funny bone in his body, unlike his “Mignola-verse” counterparts, the surrounding townspeople and villains manage to make with the funny more than once. The bloody and violent gothic horror that Golden and Mignola create together is just an example of how well the two writers work together, and the fact that Mike Mignola with John Byrne, John Arcudi or whomever, is a dynamic writer and with each writer he pairs himself up with, they compliment each other and bring their writing styles to the next level.

    Ben Stenbeck‘s artwork is the cherry on the cake. His clean and crisp lines make slit throats look amazing. The blood drenched madness of the vampires feeding or the boil-ridden plague victims look outstanding. Stenbeck’s artwork brings the book to a whole other level of awesome. It not only complements the story, but draws the reader in and keeps them waiting for more with baited breath.

    Baltimore: The Play is a great one-shot story and gives you some insight into Haigus and his inner-workings. The story itself mirrors a short story from the master of the macabre himself, Edgar Allan Poe. The references and coincidences between Baltimore and The Masque of the Red Death are uncanny. You would never think these two stories and characters have anything in common, but having it thrown in your face you sit back and wonder how you never saw the comparisons. A great story with a fantastic crew putting it together. This book is great for anyone who’s looking to jump in and has no knowledge of the characters or the previous stories. I’m excited for the next two one-shots scheduled to come out in 2013 and I cannot wait to see what’s in store for Lord Baltimore next.


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More info:
    Writer: Mike Mignola, Christopher Golden
    Artist: Ben Stenbeck
    Colorist: Dave Stewart
    Cover Artist: Ben Stenbeck

Publisher:
    Image

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Nov 30th, 2012, 5:43 pm