Review: Rachel Rising #6

Story and Art by Terry Moore

From Abstract Studios

Rachel is dead and she doesn't know why. With her friends, Jet and Aunt Johnny, Rachel deals with the mystery of her death as well as their own questions of mortality. Meanwhile things slowly get creepier and grislier. I've read some early issues of Strangers In Paradise and have Echo waiting for me in trades, but it has been a long time since i've delved into Terry Moore's prolific comic output. When Rachel Rising began, I jumped onboard hoping for something different and unique. Since the first issue I've been treated to a subtle horror/mystery where the supernatural never overwhelms the natural feel of the characters. Shit is crazy, but at the same time it feels much more real than most other comics. In the current chapter of Rachel Rising more things twist and turn in this single issue than most other comics have in a long time. It is very obvious as you read Rachel Rising #6 that you are dealing with a creator that has done this, meticulously, for quite a while. The pacing and storytelling represent experience and a careful intent. Anything can happen in this book. It's also an honest-to-goodness independent comic book. I'm sure trades are around the corner for this series. I would recommend checking them out as Rachel Rising is, quite possibly, the best monthly series on the comic-shelf.

Overall: 10

B.S.

Review: Defenders #4

Written by Matt Fraction

Pencils by Michael Lark

Inks by Stefano Gaudiano and Brian Thies

Colors by Matt Hollingsworth

Letters by VC's Clayton Cowles

Covers by Terry Dodson, Rachel Dodson, Dale Keown, and Edgar Delgado

From Marvel Comics

The Defenders ponder the “magical machine” they took, but it just may be entirely too much to handle. Can Strange control the thing, much less ever figure out what to do with it? Strange is caught between a triangle of new and old passions and in the center of it all is the unpredictable artifact. Matt Fraction just might be the most successful under-rated writer in comics. Perhaps I should use the word “under-rated” more carefully. He has loyal fans who appreciate him, but his rap got soiled by the internet in regard to his cluttered, but very nice looking, event “Fear Itself”. I admit Fear Itself wasn’t great, but it seemed like some exasperated fanboys wanted Fraction’s head on a stick. Don’t they realize that most major comic book events are terrible? Fraction was merely following in the footsteps of many capable creators who drop the ball on overblown hoo-hah. Maybe one good one every ten years comes around. Don’t let that keep you from Defenders is all i’m saying. This issue in particular is a bit more grounded than the previous, but still maintains the elements of fantastical mystery. The character play between  Molly, Strange, and Strange’s returned lost love is very well done. The writing is nicely paced and is not at all tightly wound. In fact it is a very loose book with many lighthearted elements. This issue also featured a Michael Lark fill in. I just read the entirety of Gotham Central, so seeing Lark’s name just makes me giddy. He draws magic elements very well and seems to coincide smoothly with Fraction’s writing style. Let’s hope Lark sticks around for more than one issue. Let's hope Fraction can shake those Fear Itself barnacles so people can appreciate this title for what it really is.

Writing 4.5 out of 5

Art 4.5 out of 5

Overall: 9

B.S.

Review: Scalped #56

Written by Jason Aaron

Art by R.M. Guera

Colors by Giulia Brusco

Letters by Sal Cipriano

Cover by Jock

From Vertigo Comics

The fallout of the last issue commences eight months later, and the Lakota reservation is finally as peaceful as it can get. A lot of characters seem to be getting their lives in order and money is actually going to good causes. Unfortunately sometimes the past can’t stay buried. Nothing ever goes out peacefully on the rez. Scalped, alongside Spaceman, is easily my favorite Vertigo series going and it simply adds another element to Jason Aaron’s versatile repertoire. Guera  pencils like he was born to draw these bleak tales. The features are defined and well researched. The grime of reservation life is bleak with plenty of humanity. While a few artists have contributed here and there, Guera’s work simply owns the tone masterfully. It’s a shame this book is winding down, but all compelling stories must end. Aaron is keeping busy with various Marvel projects. In the meantime I will be chomping at the bit to see what Guera brings us after the end of this series.

Writing 4.5 out of 5

Art 5 out of 5

Overall: 9.5

B.S.

Review: Justice League #6

JUSTICE LEAGUE #6

Written by Geoff Johns

Pencils by Jim Lee

Inked by Scott Williams, Sandra Hope, Batt Irwin, and Mark Irwin

Colors by Alex Sinclair, Tony Avina, and Hi-Fi

Letters by Patrick Brosseau

Covers by Jim Lee, Scott Williams, Avina Sinclair, Ivan Reis, Joe Prado, and Rod Reis

Published by DC Comics

The finale to DC's top selling flagship title ends as one who has read superhero comics for most of their lives would expect. The good guys win. Every hero gets a piece. Darkseid gets sent back to Apokolips where he belongs. This comic, out of all of the new 52, is the most hearkening to comics of the 1990s and Jim Lee pencils are a big contribution to that. To be quite frank, i'm well past excited about Jim Lee artwork. I don't dislike it really. I reserve disdain for those who insist on emulating Jim Lee artwork. Jim Lee himself, I concede, is an original. Those who pine for his work from the 90s will probably find great comfort in reading Justice League. I would definitely recommend this to those past admirers despite the clutter of inkers and colorists that help make these visuals seem a bit too stiff. Personally, as I get older, I want a lot more expression and fluidity in an action comic. This is as one would expect and it unfortunately does not go to the next level. The writing is also as basic and predictable. The character interactions can be pretty humorous. (Nothing beats Batman pickpocketing Green Lantern's ring in issue 1) I do appreciate Johns making Hal Jordan a giant asshole in this series, as I always thought that character was a giant asshole anyway. Most everyone, except maybe Barry, is a fly-off-the-handle jerk. Even Superman. Batman also spends half of this issue running around without a cowl for some reason. Those moments are all too brief as these characters come together to fight the ultra powerful Darkseid in what might be the weakest Darkseid story ever. Really this issue could have featured any Justice League villain. Starro, Despero, or Shaggy Man (look it up)  could have been just as interchangeable. While I don't usually rag on decompressed storytelling, this story did not seem so intricate as to justify stretching out six issues. (That is a total of $24 spent on this series.) Johns is doing it for me over in Aquaman, but Justice League? I think I may be giving this one the drop.

Writing 2.5 out of 5

Art 2.5 out of 5

Overall: 5

B.S.

Review: FF #15

FF #15

Written by Jonathan Hickman

Art by Nick Dragotta

Colors by Chris Sotomayor

Letters by VC's Clayton Cowles

Covers by Mike Choi, Guru e-FX, June Brigman, Roy Richardson, and Christina Strain

Published by Marvel Comics

The ongoing epic between FF and Fantastic Four comes together in this really, really nice looking issue. Doctor Doom has apparently gotten blasted by the Mad Celestials and the Future Foundation, along with Power Pack, scramble to save time and preserve earth from the clutches of cosmic warfare. The grandiosity is very well balanced with nice human moments. Hickman has cited his children as influential to the characterizations of Franklin and Valeria Richards so the personal connection to these characters is coming from somewhere natural. It works. Nick Dragotta's art is incredibly well rendered. The way he represents the posture and stances of the characters within scenes is very well done and shows a lot of virtuosity. The looming of the Celestials (which you can see fight Galactus over in Fantastic Four) deftly reminds you of the nature of the scene after you've been charmed by the great moments. A wonderful chapter for one of Marvel's more adventurous titles. With Hickman and Dragotta at the helm, it seems like you won't get it any other way.

Writing: 5 out of 5

Art 5 out of 5
Overall: 10

B.S.

DC's New 52 - Six Months Later: A Sceptic's Review

The title says it all. Like a lot of people, when DC announced that they were rebooting their entire universe with 52 #1 issues, I was less than excited. It just came across as yet another stunt to temporarily boost sales. Eventually things would return to the status quo, or at least some semblance of how things 'used to be,' and the whole thing would just be remembered as another event. To be honest, I didn't even care too much about it. For me DC peaked back in '06 with 52, and pretty much every event since had marked a slow decline in cohesive storytelling. Over the past few years the number of DC titles on my pull list had reduced from about 18 to 1 (it was Birds of Prey, btw), so it's not like I was going to be affected by it.

But then I came upon the New 52 Panel podcasts from last year's San Diego Con, and I gotta say I was impressed with some of what I heard. I'm not a huge Dan Didio fan, but he, along with the editors, writers and artists, seemed to have a very clear vision for this thing. As the months passed, I started to hear some good buzz about many of the titles (most of which came from my fellow blogger), so I decided to let go of my fanboy hang-ups and give some of them a shot. The fact remains DC recognized that many long-time readers like myself had just stopped caring about their books as a whole and this was an attempt to not only get us back, but attract newbies as well. When you think about it, it's really kind of ballsy. Launching new Aquaman, Wonder Woman or even Batman titles with a #1 issue is one thing, but re-numbering Detective Comics & Action Comics says something. I still think that'll change eventually, but I respect the statement.

So starting today, I will be reading the first story arc of one new DC title every other day and reviewing them here. 20 titles, to be exact. I'd be lying if i said I wasn't a little intimidated by this whole idea. I'm not known for my follow through on things so there is definitely a chance that I will flake on this. Nonetheless, I remain committed. So let's get this party started...

Batgirl

#1-6

Written by Gail Simone

Art by Ardian Syaf and Vicente Cifuentes

Colors by Ulises Arreola

Letters by Dave Sharpe

Covers by Adam Hughes

Batgirl was never that interesting to me as a character until she was shot by the Joker and paralyzed from the waist down. I know that probably sounds kind of harsh, but until then, she was really just a gimmick character created to pull in female readers, similar to Supergirl. Their creators pretty much just said, "Let's put a girl in Superman/Batman's costume," and that was it. Supergirl and Batgirl were born. Don't get me wrong. I am a HUGE proponent of more equal representation of women in comics (shame on you DC for having so few female creators and headlining characters in this new universe, btw), but a character is only as interesting as the writer makes him/her out to be. And just like Supergirl didn't get interesting until Peter David transformed her into an earth-born angel (if you haven't read that run, I highly suggest it), Batgirl  became a much more complex character when she was confined to a wheelchair and became Oracle, computer-hacking information broker to the entire DC super-hero community.

So I a was a little bummed when I heard that Barbara Gordon would be back in costume in the new 52 universe. I mean, do we really need another person in a bat costume right now? But I was curious as to how they were going to pull it off. Would her stint as Oracle be completely erased from continuity or would they acknowledge it somehow? And if the latter, how would they explain her return to crime-fighting? Well they do acknowledge her time in a wheelchair, but as far as Oracle is concerned, it was never mentioned so I'm not sure if this new Babs ever adopted the identity. I really hope this isn't the case because that would be a major let down.

The first story arc begins three years after Barbara was shot by the Joker. After a cutting-edge surgery, her paralysis has been cured and she just recently returned to fighting the good fight. This is a younger, less experienced Batgirl still recovering from the trauma of her attack. She has just moved out of her father's house (Commisioner James Gordon) and is settling in with new roomate, Alsia Yeoh (the standard quirky roommate with lots of sass) when a new villain by the name of Mirror surfaces. I won't give away his schtick, but suffice to say he's one of those tragic villains who experienced something so traumatic that it pushed him over the edge. It's not really that interesting to be perfectly honest. Though I will give the guy credit for taking his name quite literally in regard to his costume design. After a couple of rounds with this guy, Nightwing shows up in issue #3. Having these two meet as physical equals on the same playing field for the first time in 23 years is a kind of a big deal, and I don't envy Gail Simone having to write this scene. That being said, I felt completely let down. They fight unnecessarily, she cuts off a lock of her hair and gives it to him (I don't even know what THAT'S all about), and they go their separate ways. There was absolutely no weight to the story at all. Top the whole thing off with an incredibly lame final showdown between BG and Mirror in the most cliched setting you could imagine, and you've got yourself one dud of a debut. Bottom line? This four-issue story arc felt more like an extremely long fill-in issue than the kick-off of a new series. 

Issues #5 & #6 have Batgirl facing off against another new villain named Gretel. With a name like that you would think that Gretel is a witch hunter of some sort, but alas, it's nothing quite that exciting. She is yet another emotionally-damaged villain with a very cliched origin. There's some Bruce Wayne/Batman action in this story, which includes (of course) Batgirl facing off against the caped-crusader, though not in the way you'd think. Gotta say, this story was even less memorable for me than the previous one.

The art is adequate though inconsistent. Syaf obviously enjoys drawing super-heroes, but it would be nice if the same attention to detail was given when drawing people in plain clothes. Arreola's colors are a good combination of vibrant and moody. In particular, the graveyard fight scene in issue #2 stands out for me. I always enjoy Adam Hughes drawing women, so the covers are nice, but I like when he moves past the cheesecake stuff, such as the cover for issue #2. All in all, this book was quite disappointing though not unexpected. I love Gail Simone, but she can be pretty hit or miss. When she hits you get Secret Six. When she misses, you get her run on Wonder Woman. Batgirl definitely goes in the 'miss' column.  

Writing: 2 out of 5

Art: 3 out of 5

Overall: 5

A.L.

This One's For The Children

It has been stated that kids just don't read comic books anymore. Compared to how things used to be this is hard to argue. The big two companies have taken to putting "All-Ages" versions of their books that have come and gone over the years. The fact that DC's Tiny Titans is making it to at least fifty issues before it's retired is a pretty amazing feat. It's hard to identify why this is. Kids will watch the movies and the cartoons, but it just doesn't translate into going to the comic shop. Maybe a comic book just isn't very intriguing for a youngster who has spent most (or all) of their life living in a digitized world? I know I got into comics from perusing spinner racks at the nearest grocery store. Now I hardly ever see comics in grocery stores. What happened there? I guess if grocery stores could still sell them they would still order them.

If your kid is reading comics in your house with any consistency, then that probably means that you are reading comics with consistency. A trickle down effect that may mean that your love of the X-Men since childhood just makes your kids think the X-Men are lame. Allow me to make a few more timely recommendations that kids can identify with all on their own without the baggage of the decades of continuity. Maybe if you ask nicely they'll let you borrow them when they're done.

Super Dinosaur
By Robert Kirkman and Jason Howard
Image Comics/Skybound


There is one thing that will always be true. Kids love dinosaurs. Stick a dinosaur in battle armor and it would seem an obvious recipe for success. The real star of the book is Derek, Super Dinosaur's bestest pal and son of super genius Doc Dynamo. Each issue has more than enough slam-bang action to keep your rambunctious rascal entertained. There are also some real human moments, like when Derek has to deal with his father's severe memory loss. This can be a very real problem with family. A grandson could be dealing with this issue with a grandfather, and it's pretty awesome how this comic can connect in that way. Don't expect this comic to slow down. It moves at ADHD speed, but at the end of the day it is the kids that save it all. With a little help from a talking tyrannosaurus rex.

Snarked!
By Roger Langridge and Lisa Moore
Boom!/Kaboom!


The young Queen Scarlett and her brother Prince Rusty have formed an alliance with the begrudging Wilburforce J. Walrus and his happy-go-lucky carpenter pal Clyde McDunk to find her missing parents to re-claim her corrupted home kingdom in this goofy, Lewis Carroll inspired, madcap adventure. All signs point to the mysterious Snark island that contains a creature everyone fears but very few have ever seen. Langridge has been cartooning for a while and deserves high credit. He doesn't miss a beat and is never afraid to delve into the wackiness of this adventure.  This book seems like a good pick for silly kids who love to read, or have a particular fascination with the sunday funnies.

Adventure Time with Finn & Jake
By Pendleton Ward, Ryan North, Shelli Paroline, and Braden Lamb
Boom!/Kaboom!


Already a commercial and critical success as a television show on Cartoon Network. Adventure Time has just recently found its way onto the comic book rack. Finn the Human and Jake the Dog reside in the Land of Ooo. They hang out, high five, use Jake's magical powers, and practice "battle burns" in this wildly imaginative comic. I've never seen the show, but I am actually totally in love with this comic book. If you have an oddball child that you already know is a fan of Adventure Time then give them this as a treat. Maybe they'll be so appreciative that they won't stick you in a nursing-home someday.

-BS

Weekly Reviews For Comics Released on 2/15/2012

I'm trying to find a perfect pace to presenting weekly issues. I feel like i'm getting there. We're developing and soon we will be perfect. For now, just pretend that this is the new perfection.

This week I scaled back and focused on my personal favorites for the week. What were your picks for the week? Let us know! 

Peter Panzerfaust #1

Written by Kurtis Wiebe

Art by Tyler Jenkins

Colors by Alex Sollazzo

Letters by Ed Brisson

Cover by Tyler Jenkins and Alex Sollazzo

Published by Image

The Peter Pan mythos inspires this WWII story that has all of the bravery and none of the pixie dust. The book opens to an elderly man that begins a story of being a young orphan in the french city of Calais as the Germans are aggressively pushing the british forces out. A German bomb drops on the orphanage, killing many, and as the survivors emerge from the wreckage they encounter a smirking american kid named Peter. From then on begins a harrowing tale as Peter guides the orphan boys throughout the war-torn streets of Calais, dodging tanks and doing what comics love to do...kill nazis. A nice start to what looks like a fun new series. Wiebe establishes characterization very well, even amongst the horror of wartime France. Peter's charm is as infectious for the reader as it is for the "lost boys" of the orphanage. Jenkins' drawings do their best when silently establishing danger and action within panels. One wonderful panel in particular shows Peter reeling from the shockwave of tank-fire against the building they are hiding in. As Peter struggles to re-gain his bearings an outline of his body is seen between the residue of the blast. If I had to complain, it would be that the art skimped on backgrounds a little too much. A very promising start for Image's Shadowline productions. Fans of adventure and war comics should consider checking this one out. 

Writing 5 out of 5

Art 4 out of 5

Overall: 9

Batman #6

Written by Scott Snyder

Drawn by Greg Capullo

Inked by Jonathan Glapion

Colors by FCO

Letters by Richard Starkings

Covers by Greg Capullo, FCO, and Gary Frank

Published by DC Comics

After the deadly cliffhanger in issue five we go right into the direct confrontation between Batman, the Talon, and the mysterious Courtship of Owls. It doesn't get any more fun for Bruce Wayne as he continues to get his ass handed to him within the deadly trap. This time he stands before his oppressors to be judged. You can never underestimate the willpower of Batman, but for all his ability it still may be too late. Establishing terror just comes too easy for Snyder. He is determined to punish Batman for his arrogance. He characterizes Bruce by reveling in his biggest flaw: his pride regarding his knowledge of Gotham City. We've seen Batman get overpowered before, but this is becoming a particularly humbling experience for the caped crusader. Capullo's storytelling ability makes you feel guilty for taking him for granted all these years. (at least I did) The way Capullo lays out a page, and so clearly establishes the story within even the narrowest panel, feels like you're getting an education in storytelling. Glapions' inks and FCO's colors just add to the creepshow vibe as you wonder if those owl faces are real or just another hallucination within Batman's mind. It's a wild ride, but i'm still anxious to see how Snyder establishes Batman's character when (if) he makes it out of this hell-hole. His run on Detective (with Jock and Francavilla) was an amazing bit of writing that stuck Dick Grayson in terrifying situations without compromising any of Dick's character or style. As amazing as this is, i'm still waiting for that connection I found with the Detective run. I've found that when you are only comparing a creator to his own work, then that is already a good sign that you're dealing with an amazing creative team.

Writing 4 out of 5

Art 5 out of 5

Overall: 9

Daredevil #9

Written by Mark Waid

Pencils by Paolo Rivera

Inked by Joe Rivera

Colors by Javier Rodriguez

Letters by VC's Joe Caramagna

Cover by Paolo Rivera and Joe Rivera

Published by Marvel Comics

The fun and adventurous Daredevil comic you forgot you always wanted continues with the amazing Paolo and Joe Rivera returning to the page. Coffins have been disappearing, including the coffin of Matt Murdock's father. Where city employees are afraid to go Daredevil will. Daredevil finds himself amongst moloids, the underground race of humanoids that are under control of the Mole Man. But what does he want with these bodies? And why do I keep thinking about that video for Tom Petty's "Mary Jane's last dance"? Between this, Irredeemable, and Incorruptable Mark Waid continues to prove that he still has plenty of story up his sleeve. Most importantly, Waid actually gives a damn about these characters and it is obvious in every issue. Paolo Rivera practically redefines the nature of this character with his visuals, representing DD's radar sense in great ways. The art is more confined within the underground realm of the Mole Man, but even in dank corridors Rivera deftly carries the story with wonderful sequences. The creative team of Superboy should take note of Daredevil's fine example between the balance of inner monologue and visual representation. The scene where the Mole Man is breaking open coffins with a crowbar, and Matt trying (and failing) to contain his catholic rage is chilling and great to watch. This critically acclaimed comic continues living up to it's hype and is still one of the freshest super-hero comics on the stands. If you only have to read one super-hero comic, this one may be it.

Writing 5 out of 5

Art 5 out of 5

Overall: 10

B.P.R.D. Hell on Earth: the Long Death #1

Written by Mike Mignola and John Arcudi

Art by James Harren

Colors by Dave Stewart

Letters by Clem Robins

Covers by Duncan Fegredo, Dave Stewart, and Mike Mignola

Published by Dark Horse

The titles of BPRD books get even longer as Johann returns from his time in Russia with his mysterious new containment suit. Not much rest for the BPRD as Johann and some agents are sent to British Columbia (near where Abe Sapien got tore up) where they encounter...you guessed it...something horrifying. Will the BPRD be able to handle the Wendigo? Lemme tell ya. It doesn't look good. In true Mignola-verse fashion the biggest deal here is the art. The writing is consistent as always, but everything leads into the visuals. This is a comic book after all. Johann, a ghost in a containment suit, is a very compelling character The old trope of dream sequence is used, but it's hard to complain when looking at Harren's imaginative renderings. This is a wonderful book to look at. The terror of it all is something Harren obviously revels in. When the Wendigo attacks, it could not look more violent or hopeless. I have only recently been reading BPRD books consistently and i'm finding that as I go deeper into the story every moment manages to become more intense than the last. Fans of horror and character should always read Mignolaverse comics.

Writing 3.5 out of 5

Art 5 out of 5

Overall: 8.5

Quick Reviews:

Wonder Woman #6

By Brian Azzarello, Tony Akins, Dan Green, Matthew Wilson, Jared Fletcher, and Cliff Chiang

Published by DC Comics.

Quite possibly the boldest comic of DC's 52 "relaunch". Diana is setting up political associations to help stack up the odds against Hera by attempting to strike a deal with Poseidon and Hades. At the same time she protects the pregnant Zola from those filthy centaurs. I love the re-imagined looks of the Greek Gods and it successfully adds a fantastical layer to the mythos of DC's premier super heroine. A consistently well written book and one of the few new DC titles that doesn't over explain itself to you. No Cliff Chiang, but Tony Akins doesn't slouch on his fill-ins.

Writing 4.5 out of 5

Art 4 out of 5

Overall: 8.5

Glory #23

By Joe Keatinge, Ross Campbell, Ms,Shatia Hamilton, and Douglas Sherwood

Published by Image Comics.

The newest in the all-new, all-different, Extreme relaunch. The superheroics of the character of Glory are played out as days gone by. We are given a good introduction to the character of Glory(thankfully) and are also introduced to a young woman named Riley who seeks to find the super-hero that has gone missing. The shocking answers will lead her across continents. An intriguing start to the Liefeld owned property. Keatinge makes sure the story stays grounded as it also harkens across the time of Glory's presence on earth. Campbell also makes sure that Glory's figure matches the likely frame that a muscle bound warrior would maintain. The design is refreshingly un-stereotypical in light of how these characters have been represented in the past. Some moments seemed stiff, but overall i'm intrigued.

Writing 4 out of 5

Art 4 out of 5

Overall: 8

Thunderbolts #170

By Jeff Parker, Kev Walker, Terry Pallot, Frank Martin Jr, Joe Caramagna, and John Tyler Christopher

Published by Marvel Comics.

The Thunderbolts, who have been lost in time, now find themselves trapped within Merlin's apothecary. Can the Thunderbolts escape and successfully bring themselves back to their own time? Dragons, Grendels, and Arthurian characters galore! Jeff Parker continues to write Marvel's best, and most consistent, team "superhero" book. Walker's pencils look better and better every time. His issues pull you back in just when you think the series might flounder. Terry Pallot's colors are very well done in this issue. The issue ends on a cliff-hanger that longtime T-bolts fans will appreciate. Thunderbolts is better than all of the Avengers books put together. Yeah...I said it.

Writing 4 out of 5

Art 5 out of 5

Overall: 9

-BS

My First Digital Comic: Prophet #21

So I recently purchased my very first digital comic. A while back I tried to redeem a code from an Ultimate Spider-Man comic at Marvel's website and never could even find the comic I redeemed. The window to download the comic was by midnight the next day. I made it under the wire (CST), but I never figured out how to pull the issue up. The process seemed very impractical as a method to introduce people to the digital medium, and the limited window to redeem just felt kind of paranoid. I eventually just gave up. Why would Marvel care? I already bought the comic. I just wanted to see Chris Samnee pictures on my computer screen.

So I went to Comixology and bought a digital copy of Prophet #21 for $2.99. I don't know if Comixology is the best, but they seemed to have everything laid out simply enough for a bonehead like me to figure out. The critically acclaimed title had sold out locally. (and nationally from what I hear) Like many others I thought this was a continuation of the big gun boredom of Image's earlier periods. All flash, no substance. I, and a lot of other readers, were dead wrong in our initial assumptions of a Rob Liefeld created title. Written by Brandon Graham with art by Simon Roy, the new Prophet is the perfect jumping on point for any appreciator of fine comic book material. Trust me on this one. I never read a single word balloon of Prophet prior to this issue and I didn't need to.

John Prophet awakens in the far future and begins his mission without batting an eyelash to the strangeness of the world around him. The creative team are in perfect lockstep to execute this bizarre sci-fi adventure. I personally love all the scenes that map out regions and display descriptions of all the gear John Prophet utilizes and finds. John Prophet's encounters with the world's bizarre denizens are every bit as strange, unpredictable, and visually exciting as a Jim Woodring "Frank" story. (except more violent in some cases) Richard Ballermann's colors are dead on in capturing the dusty tone of this brave new world. When the book ended I felt impatient for more. A perfect 10 overall.

Rob Liefeld is the ultimate pariah in comics. His criticisms can easily fall over into "unfair". I admit that I am not a fan of his style. Just looking at his alternate cover to this issue doesn't do justice for the visual appeal of the interiors. I have to give it to Liefeld for knowing when get out of the way of even his own creation. Believe it or not, as a creator/businessman, Rob Liefeld can know what makes a great comic. Sometimes we forget that. Love him or hate him, the guy is a veteran of the industry and the fact that he is open to letting his corner of Image evolve in such a unique way is enough of a testament to get anyone to step off of the hate train for at least a moment. I also plan on reading another Liefeld creation "re-launch", the Ross Campbell drawn Glory that comes out this week. Glory is another character I know absolutely nothing about, but from a company that is unafraid to move forward (in contrast to the incessant re-hashing of the big two) I can say i'm not worried and actually may be excited.

The digital experience of reading Prophet #21 was fun. I took the panel for panel approach and utilized some zoom. I probably spent ten full minutes on the map of the Oonaka Farm. I have to say that spending the same amount for some instantaneous digital transfer as I would a hard copy does seem to be a bit much. Many media are having trouble dealing with the compatibility of digital information versus their hard copies. I think it is a fair question to ask if somethings digital value is truly worth the same as the cost of the manufacture of a paper product. I would say it doesn't. Of course from a business stand-point new comics would have to be the same price as digital, otherwise everyone would just get digital and ignore the paper...right? I did notice that Comixology did have $1 options for older titles. My colleague here at BeatOffComics has a digital Marvel account that lets him read loads of back issues. (New ones are full cover price. Is that digital Avengers comic really worth $4? Really?) I'm sure over time the cost of Prophet #21 will drop. I don't regret my full price purchase. I'm happy to support this creative team and happy to support a creator that supports this creative team. I just won't be going full price digital very often. New digital comics prices probably won't ever make sense until everything is digital and paper is done. Then again, companies might be so greedy and impractical that they will make prices digital prices even higher and then sit around wondering why nobody reads them. I personally think that paper medium is going to take a lot longer to fade away. Some of that is old school mentality from fans like myself. I like my paper comics, but digital has it's place. When digital does take over us all i'm going to try very hard to not be one of those bitchy old men that harp on the "good old days".

-BS

Weekly Comics Reviews Released on 2/8/2012

SPOILER ALERT: I'll try to be vague on many books, but may give some elements away so go finish your stack first. I am writing this on the following Monday, so if you haven't read them then what the hell is taking you so long? If you want to heartily reenforce our opinions, or snarkily shoot them down, then please feel free to comment!

Conan The Barbarian #1

Script by Brian Wood

Art by Becky Cloonan

Colors by Dave Stewart

Letters by Richard Starkings & Comicraft

Covers by Massimo Carnevale & Becky Cloonan

Published by Dark Horse

Conan just may be one of the most charming assholes in all of fantasy/comics. He'll stick a sword by your neck and threaten to slaughter all of your friends one minute, then the next minute you will be swooned into his friendship by his harrowing tales of the north country. Conan speaks a lot of honor, but he won't just hand it out to any stranger. It's all part of what makes Robert E. Howard's popular fantasy character so appealing. (Though I confess that when Hal Jordan acts like a charming asshole it annoys the shit out of me.) Everyone's favorite Cimmerian finds himself on the run from guards of the city of Messantia. He stows away with the crew of the ship Argus (after asking as nicely as a Cimmerian can) towards the land of Kush. Tales and evidence of a siren-like pirate queen named Belit become apparent. While most men tremble at Belit's name, Conan becomes...aroused. He even gets wrangled by Belit into a wet dream where Conan decides to swim in open water to get that booty. Conan's little barbarian has always been his biggest weakness. It may be all that is required for Belit to get the drop on the Argos. Reader's of Northlanders already know that Brian Wood is a good choice to adapt Conan tales. He easily captures the tone of the character and the world around him. Becky Cloonan's art is what pushes this book from good to great. Her style is full of expression and anything but stiff. The art is perfectly complimented by the colors of the prolific Dave Stewart. Cloonan's rendering of the black queen Belit comes with all the dangerous and erotic imagery that one would expect of such a character. Fans of Conan or fantasy adventure won't want to miss out on this nice looking book. You won't even mind it's lack of swordplay. I'm sure that will be remedied soon.

Writing 4 out of 5

Art 5 out of 5

Overall: 9

Dark Matter #2

Story by Joseph Mallozzi and Paul Mullie

Art by Garry Brown

Colors by Ryan Hill

Letters by Richard Starkings and Comicraft

Cover by Garry Brown

Published by Dark Horse

The writers of Stargate's TV series continue their tale in Dark Horse's hard sci-fi mystery. Last issue we found a crew (and a little girl) awaking on a ship full of weapons cargo, and a sealed door, with no clue of who they were or how they came to be where they are. They were attacked by the ship's android (who momentarily flipped out) and we begin this issue with the crew having to outfly a missile from an unknown source. They avoid the attack but are not left with many answers, except one. Their destination. They arrive at a small colony that is pretty much scared shitless of being attacked by alien goons called the Raza and are expecting a cargo of weapons to be delivered for their defense. An ethical dilemma is debated amongst the crew. Are they the weapons shipment the colony is waiting for, or is it just a coincidence? Some want to keep the weapons for their own defense, others are sure they should assist the colony. Others don't care for the android, who may know more than it's saying. The onion layers continue to peel, with answers leading to more questions. What the hell is behind that giant sealed door? Mallozzi and Mullie are definitely weaving a nice mystery in this straight forward sci-fi tale. Character moments are stronger with certain crew-members, but then again nobody really knows who the hell they are. We know only as much as they do. Garry Brown's art has a scratchy  style to it and the expressions seem vague, which actually matches the vague elements of the story. Most of the art services very basically, but I personally like the style of Garry's space-flight panels in particular. A solid tale so far and a good read for sci-fi fans.

Writing 4 out of 5

Art 3.5 out of 5

Overall: 7.5

Incredible Hulk #5

Written by Jason Aaron

Pencils by Whilce Portacio

Inks by Allen Martinez, Rick Ketcham, and Scott Hanna

Colors by Arif Prianto, Benny Maulana, and Veronica Gandini

Letters by Clayton Cowles

Cover by Leinil Yu

Published by Marvel

One of three comics this week that is written by Marvel's exclusively signed bearded heathen, Jason Aaron. This issue reveals the mastermind behind the separation of the Hulk and Bruce Banner since issue one. If you are one of those rigid continuity nerds then you're probably gonna complain about the reveal. Meanwhile Amanda Von Doom (no relation...allegedly) has managed to manipulate the Hulk into attacking Banner (who is tumorous and insane) on his island of gamma powered animals with low self esteem. Lots of battle and poo tossing ensues. A hunchback cries. At this stage of my comics reading I would definitely say I am a Jason Aaron fan. He currently writes my favorite x-book in years, is winding down the brilliant Scalped over at Vertigo, and has been making Wolverine's usual tropes feel fresh and interesting again. While I wouldn't say the story itself isn't entertaining, it seems to be on the low end of Aaron's stories. The words seem less justified when lain next to Portacio's clunky imagery. All the elements seem to be here to make this story interesting, but this issue in particular seemed to fall along the line of a Mark Millar tale. Not necessarily a bad thing. Aaron can often be variable with a book's tone. Influence plays into that, but Aaron always manages to set his own voice to the scenario. This felt more away from that voice in contrast to all of Aaron's other works. It is much harder for me to speak highly about the artwork. It feels cluttered. Image inconsistency. Most of the combat scenes are very stiff, and there seems to be a heavy reliance on lots of close up panels. Seems like a book about a character that is eight feet tall could stand for a little more space. When you see that seven different people had to make these interiors, than it's little surprise this was the result.

Writing 3.5 out of 5

Art 1 out of 5

Overall: 4.5

Kevin Keller #1

Written and Pencilled by Dan Parent

Inks by Rich Koslowski

Colors by Digikore Studios

Letters by Jack Morelli

Published by Archie Comics

Holy shit I can't remember the last time I read an Archie comic. Many of these characters have been around for a long time and for longer than most of those of the tights wearing variety. Betty, Veronica, Reggie, and Archie are exactly like they were when I last left them. The jokes are even the same. This issue focuses on a newer resident of Riverdale, Kevin Keller. A worldly teenage son of an army colonel that is openly gay. Kevin is very nice and is a good friend to all of your main Archie characters. Veronica is his best friend and she jokingly pines over him wishing he weren't gay so that she could date him. Kevin later reveals to Betty that he's never been on a date. Whenever a dating scenario arises Kevin suddenly turns into a homosexual Dick Van Dyke and starts tripping all over himself. It is pretty damned modern of Archie to have a series around a gay character. The process of having gay characters in mainstream comics has gone from non-existent to slow coming, and often heavy-handed and ill-informed. Archie Comics proves again why you can't always underestimate them. They once had an Archie/Punisher comic after all. It kinda threw me off how perfect everything is in Riverdale. It isn't totally unlikely that an openly gay student could be elected class president, but it doesn't seem likely in a lot of the country. Riverdale High is very open minded. It has modern compassion with a days-gone-by tone to the environment. A part of me wanted to see the book deal with real gay issues, but then again maybe that would have been too obvious. It is an Archie comic, so it seems that people will always be no worse than a little catty. Dan Parent at least focuses on showing Kevin as normal a human being as possible and doesn't rely on the tropes of gay stereotypes. Kevin isn't going around giving people design tips. Reggie actually comes along and gives Keller some fashion tips that lead to a montage of innocent madcap. Art and story-wise it is as Archie a comic as any Archie comic. You don't hate it, but it ain't gonna blow your mind. The next step is showing Kevin kissing his boyfriend on the cover. The retro-fashion two page spread was kinda nice and nostalgic for me. Maybe I'll pick this up again down the road. There's no rush on an Archie comic. You can usually step in anytime and pick up where you left off, but it isn't for me to read consistently. The audience for this is definitely out there. You know who you are and you'll probably enjoy this. 

Story 3 out of 5

Art 3 out of  5

Overall: 6

Haunt #21

Written by Joe Casey

Art by Nathan Fox

Colors by Ivan Plascencia

Lettering by Comicraft

Cover by Nathan Fox

Published by Image

I started reading Haunt for the first time at issue 19 when this Casey/Fox run began. I can honestly say that I don't really know much more of what Haunt's deal is. He is kinda like Venom, but instead of a symbiote he is powered by the ghost of his brother ( I think). Don't let that unfair comparison cause your eyes to roll, because Joe Casey and the amazing Nathan Fox have thrown us into a high octane adventure. The experience can get snarky, but very nice to look at. After accidentally dismembering a young lady in issue 19 and escaping from an otherworldly jail cell in issue 20, Haunt and the very "Dude-like" but dangerous swordsman Still Harvey Tubman have it out against the corrupt forces of Deacon Larkin. People get waxed in very violent ways and Nathan Fox makes it all look so fluid and action packed that it just about makes you sick. Casey builds the divide between the main-character Danny and his dead brother/superpower Kurt in an interesting way. The fireworks surrounding the character moments are in lockstep with the best of Casey's works. Fox is, simply, a wonderful and imaginative artist whose presence on a book will almost always guarantee my hard earned dollars. The words add fun to the action, even if you get lost in the "why" of it all. It's best to strap in loose and enjoy the ride. If you don't take it too seriously you may actually be pleased with how clever and connected it all is. The Tubman abides.

Story 4 out of 5

Art 5 out of 5

Overall: 9

Superboy #6

Written by Scott Lobdell (plot) and Tom Defalco (script)

Art by R.B. Silva

Inked by Rob Lean

Colors by Richard and Tonya Horie 

Letters by Carlos Mangual

Cover by Shane Davis, Jonathan Glapion, and Barbara Ciardo

Published by DC Comics

This story picks up directly from the previous Teen Titans issue that I didn't read. So a lot of things in this issue held no brevity for me. Superboy can also fly into space by this issue when previously his powers had been limited. He encounters Supergirl (the subject of her own, decent, title) who, like Superboy, is trying to define her existence on earth. When Scott Lobdell was announced to write some books for the new DC 52 I admittedly felt cautious. My teenage memories of his X-Men comics brought back images of overdone exposition that I later got very bored of. I decided to give Superboy a shot (not reading Lobdell's other books) and was pleasantly surprised in the beginning. It is by this issue when it starts to go a bit off the rails for me. Far too intertwined elsewhere and predictably caption heavy. There is hardly room to breathe in this issue, and it isn't high adventure that takes the breath away. Silva has an art style perfectly suited for a book like Superboy, but the endless exchanges between the characters or in the characters minds is getting pretty boring. Other than the nice drawing of Superboy seeing the death of Krypton in Supergirl's mind (he can do that now?), this story is pretty forgettable. Silva does what he can, but it seems like the writing isn't hitting up the full advantage of what the art can do.

Writing 1 out of 5

Art 4 out of 5

Overall: 5

QUICK-REVIEWS

Thief of Thieves #1 (Image)

By Robert Kirkman, Nick Spencer, Shawn Martinbrough, Felix Serrano, and Rus Wooton

A crime comic that knows it's clever. That may bite itself in the ass in the long run, but for now this is a nicely crafted tale. It functions all on its own, but the characters aren't delved into too heavily. I couldn't help but think I was reading a television pilot at some points. A nice read for fans of books like Criminal.

Writing 4 out of 5

Art 4 out of 5

Overall: 8

PunisherMAX #22 (Marvel) (final issue)

By Jason Aaron, Steve Dillon, Matt Hollingsworth, Cory Prett, and Dave Johnson

Frank Castle isn't even alive in this unsentimental and refreshingly-free-of-bullshit sendoff of the Marvel Max Punisher. In one great scene, Nick Fury (who narrates the issue) finds one of Frank's War Journals. Just when you think it's possible for future Punisher Max stories of the past, the Colonel then sets the damn thing on fire. Loose ends get severed, literally. A seminally cohesive creative team to end a seminal character run. A very memorable issue for a usually one-note character. If this were a super-hero book that Steve Dillon drew it would rate much lower.

Writing 5 out of 5

Art 5 out of 5

Overall: 10

Resurrection Man #6 (DC)

By Dan Abnett, Andy Lanning, Fernando Dagnino, Jeremy Cox, Rob Leigh, Ivan Reis, Joe Prado, and Rod Reis

Mitchell Shelly is locked in Arkham Asylum and he is begging to be killed. For those fascinated with the morbid potential of a man who can die and resurrect, this is the issue for you. Shelly gets killed multiple times in this self-contained story. Dagnino's drawings of people look pretty good unless they are huge and bulky. Then they look kinda deformed. Probably the best issue of RM yet. It's just too bad that after this they will likely be going back to the old "good vs. evil for Mitch's soul" thing that isn't very interesting.

Writing 4 out of 5

Art 3 out of 5

Overall: 7

-BS

Avengers/Invaders Review

AVENGERS/INVADERS

Plot: Alex Ross & Jim Krueger

Script: Jim Krueger

Pencils: Steve Sadowski, Patrick Berkenkotter, Alex Ross & Jack Herbert

Colors: inLight Studios & Thomas Mason

Letters: Todd Klein

Covers: Alex Ross

Editor: Stephen Wacker

Assistant Editor: Tom Brennan

Full disclosure: I was initially apprehensive  about reading this latest collaborative effort brought to us by the team of Alex Ross and Jim Krueger, and with good reason. Like many comic book readers who experienced their formative years in the 90's, I used to be a die-hard Ross fan. Marvels and Kingdom Come are two of the most ambitious and brilliant mainstream comics to come out of the decade and that is thanks to, in no small part, Ross' photo-realistic art.

But it's a lot easier to come across as an artistic genius when Kurt Busiek and Mark Waid are writing your books. Ross began co-plotting with Krueger on Earth X, a massively over-blown and over-hyped 12-issue limited series that was followed by two sequels (Universe X and Paradise X), each one worse than the last, and the two have collaborated on many projects since. So when I picked up Avengers/Invaders, my first thought was, "Fuck. Another one?"

The story begins when the Invaders (Captain America, Bucky, The Human Torch, Toro & Namor) find themselves suddenly transported from the battlefields of 1943 Germany to the streets of Manhattan, circa 2008. Civil War has come and gone, Tony Stark is the head of S.H.I.E.L.D., and most importantly, Captain America has been assassinated. They are immediately thrust into a battle between the government-sanctioned Thunderbolts and an unregistered Spider-Man. The Swordsman has a German accent, so naturally the team assumes the T-Bolts are Nazis and chaos ensues. Word gets back to Iron Man, and fearing that the Invaders' presence in the future will corrupt the timestream, he sends his team of Avengers (Black Widow, Wasp, Wonder Man, Ares, Sentry, and Ms. Marvel) to bring them in for their own good. In true comic book cliche form, this turns into a ridiculously unnecessary brawl which ends with everyone being taken into custody except for Namor, who then proceeds to go fight himself (naturally).

Eventually, the Invaders (minus Cap) escape with the help of the underground Avengers team of Bucky Cap, Spider-Man, Luke Cage, Iron Fist, Echo, Ronin aka Hawkeye, and Doctor Strange. Doc knows about the damage being done to the timestream and plans to fix things by sending everyone back to their original time. However, unbeknownst to the Invaders, an American soldier accompanied them on their trip to the future (present?) and unless they find him and send him back as well, the timestream will remain screwed. Also, at some point the Sentry has a meltdown in the middle of a battle and flies off to continue being the most powerful member of the team while simultaneously being the most ineffectual.

D'Spayre shows up for a few pages (because everyone LOVES that character) then the Vision (not the one you think). But no Avengers/WWII Captain America story would be complete without a certain mankind-hating robot and skin-deficient Nazi. Toss in the McGuffin that is the Cosmic Cube and you start to get a sense of how all over the place this comic is. The characters just seem to meander from one pointless battle to another. Ross and Krueger have a history of coming up with grand ideas but never quite delivering. Their stories never seem to have any real focus and the same holds true for this one. There is a nice little sub-plot dealing with the synthetic Human Torch becoming an almost Malcolm X-like character after meeting S.H.I.E.L.D.'s 'oppressed' LMDs (Life Model Decoys) but it's over and forgotten in a matter of pages.  The characterization is a bit off for many of the characters as well. For example, Spider-Man comes across as more annoying, prepubescent jackass than loveable, wise-cracking smartass.

And the art only adds to the lack of focus. Sometimes having multiple artists on a book can enhance the story. In this case it has the opposite effect, which surprised me because I usually enjoy these guys' stuff. (For better examples of the work of Sadowski, Berkenkotter and Herbert, check out their runs on JSA, Torch and Battlestar Galactica respectively.) The colors come across as very muted and flat, and the inks are a little too heavy which makes everything look clunky. On the whole, the entire project feels a bit rushed so I give Avengers/Invaders 1 out of 5 tugs. You can definitely pass on this one.

A.L.

BETRAYAL OF THE PLANET OF THE APES

Written by Corinna Bechko and Gabriel hardman

Art by Gabriel Hardman

Colors by Jordie Bellaire

Letters by Ed Dukeshire

Edited by Dafna Pleban

Covers by Gabriel Hardman, Declan Shalvey, and Jordie Bellaire

Published by BOOM! 

I always liked the Planet of the Apes movie growing up, but for some reason it never led me to delve into its many sequels and onward to ever become a full fledged Apes freak. I saw the Tim Burton remake and then wished I hadn't. My scatterbrained childhood could only truly focus on comics. It is a habit that maintains to this day. You put Planet of the Apes in a comic book and the odds of me checking it out increase. You put Corinna Bechko and Gabriel Hardman, the husband and wife team who brought you Heathentown, on a book called Betrayal of the Planet of the Apes, then I will definitely check it out. I'm happy to say that I wasn't at all disappointed.

Bechko and Hardman (Hulk, Agents of Atlas) are big Apes fans. They weave an amazing tale of mystery, politics, and social conflict both casual readers and hardcore fans can enjoy. This tale is as fine and thrilling as anything else you will see in any media this year. Hardman, a storyboard artist for many films including the upcoming Dark Knight Rises, handles the storytelling masterfully and with a pacing that feels exactly right. Jordie Bellaire's colors add wonderfully to the bleak atmosphere that exists beneath the rigid rule of ape law.

The planet of the apes is not a good place for humans, and not good for many apes either. The story takes place around 20 years before the original film, and focuses on General Aleron whom is accused of murdering a fellow soldier some 15 years before. At the same time a human, Tern, who has been taught sign language and is witness to the murder of his ape mentor Cato is being pursued by military forces. General Aleron also seems to have a soft spot for humans, one that makes him an easy target for political gain. The story adds a deeper element to the familiar characters of Dr. Zaius and Prisca and by the end sets them on a path that makes you more deeply understand the characters we came to know 44 years ago. The mystery is very well done, with a climax done in a way I honestly didn't see coming. The story leaves you with answers, and ends on a path that sets our characters on a more open, and possibly more dangerous, road.

If you missed this sell-out series it will be collected by the summer and can be pre-ordered. The series will be followed up with a sequel, Exile on the Planet of the Apes. Bechko and Hardman will maintain writing  duties and the art will be handled by Damian Couceiro. A bummer to not see Hardman drawing some Apes, but he will be joining Rick Remender for a stint on an upcoming Secret Avengers run. Corinna and Gabe's writing has already proven to deliver and I'm eager to see what Couceiro can bring to the table. It is easy to see that these creators care about what they are working with. As a long time comics fan, it is like a breath of fresh air when you can see that coming through onto the page.

-BS