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Posts Tagged ‘comic books’

The Waking #1 (of 4) Comic Review

Tuesday, March 2nd, 2010 by Carl Doherty under Comic Book Reviews

Zenescope, $3.99
Writer:
Raven Gregory
Pencils:
Vic Drujiniu
Colours:
Mark Roberts

The Waking’s is a decidedly old-fashioned horror story, a Gothic tale in which the dead are seemingly returning from the grave to exact revenge on their killers. Unlike many other horror titles, the gore quota is downplayed in favour of a thoughtful, intricate narrative told from the perspectives of four jaded detectives. These aren’t the brain-chomping zombies that have oversaturated the comic market of late, but tragic souls who refuse to rest for good reason.

The Waking #1

The Waking #1

There’s a hell of a lot going on in this issue, but Raven Gregory’s script deftly balances the intertwining plot threads. A drunk driver responsible for the death of his wife and granddaughter is himself run over. Another man is found in a pool of his own blood; his wounds suggest that someone has reopened the same small lacerations again and again. A mentally ill vagrant keeps his daughter locked up for reasons unknown. These plots are clearly all related, and it’s the how and why that makes The Waking so engrossing.

Raven Gregory has received a fair amount of acclaim with his series The Gift, an independent comic that was bought by Image Comics, and his knack for writing dialogue lifts The Waking above similar fare. However, Gregory’s script occasionally falters when it gets too witty for the book’s own good, and several of the stereotypical characters stick out of the grim, colourless cityscape like neon lights. The presently unnamed narrator’s nymphomaniac wife, Betty, seems to have walked in from an entirely different comic; presumably a pornographic one.

Vic Drujiniu’s art is similarly torn between a cinematic, supernatural detective story, and images of the sort of glossy pin-up babes that Zenescope has generally specialised since its numerous Grimm Fairy Tales series proved such hits. It doesn’t say much for Officer Vanessa Pelagreno’s sleuthing skills that she needs to parade her cleavage while visiting a late night murder scene in the pouring rain. The Waking is still a nice looking book, though, and Mark Robert’s palette really brings out some of the night-time scenes, but it’s so disheartening that so many comic artists/publishers choose to bring down mature and intelligent tales such as this by catering to the lowest common denominator.

Misogynistic tendencies aside, The Waking is a solid read, and while this first issue merely hints at how the various macabre incidents are related, this four-part series looks to get very interesting indeed as it gathers momentum next month.

7/10

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Daffodil #1 Comic Book Review

Thursday, February 25th, 2010 by Carl Doherty under Comic Book Reviews

Marvel/Soleil, $5.99
Writer: Frédéric Brrémaud (translated by Stephanie Logan)
Art: Giovanni Rigano
Colours: Paolo Lamanna

You only have to glance at the website for Soleil Productions (hey, come back!) to appreciate how many titles the French publisher currently has on offer. English speakers who’ve wanted to sample some Gallic comics that don’t feature Asterix will be happy to hear that Marvel are printing several of Soleil’s large catalogue throughout the year. And it’s easy to see why; Soleil’s books seem to have nailed the early teens market that favours mini manga volumes over Marvel’s spandex heavy output.

Daffodil #1 Comic

Daffodil #1 Comic

Daffodil follows three secret agents of the Vampire Parliament (Daffodil, Globuline and Achilles), who are sent to the gothic citadel Addio-Colonnello to halt an assault from pintsized rebel Nosferatu and his minions. The vampire lords aren’t’ concerned for our wellbeing, however, but rather the fact that the fallen humans from Nosferatu’s indiscriminate attack will in turn become vampires, thusly causing a boom in the vampire population that no quantity of human blood will satisfy.

The problem with Daffodil is that it doesn’t quite know who it’s being marketed at, and the result reads like a cheery Saturday morning cartoon with tits and decapitations aplenty. The trio of vampire detectives have to be one of the most despicable group of protagonists I’ve ever come across in a comic book. You’ll supposedly jump for joy as they viciously murder dozens of undeserving city guards, disembowel a stray cat, callously push another sheltering vampire into the daylight and kidnap two children. But it’s okay; they’re pretty and wearing designer fetish gear, and are therefore both every male geek’s dreams, and exempt from all moral judgement.

Fortunately, the one glimmering gem in this proverbial pile is Giovanni Rigano’s art, which evokes the wide-eyed cuties of anime, the character designs of Don Bluth and the architecture of Disney’s Beauty and the Beast, all with that attention to detail common to non-British European comics. Daffodil’s page layouts are also quite brilliantly paced, and Paolo Lamanna’s colours are beautifully realised, with the dusk-drenched surroundings and moonlit tombs oozing atmosphere.

The wonderful art might win Daffodil a strong market in the West, but I found it to be an entirely vapid and questionable read. Obsessed with vampires? Like anime? Try Vampire Free Style instead. It has all the vampire genre ingredients that Daffodil offers, but with oodles of an ingredient sorely lacking here: charm.

5/10

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Joe the Barbarian #1 (of 8) Comic Review

Wednesday, February 24th, 2010 by Carl Doherty under Comic Book Reviews

DC/Vertigo, $0.99
Story: Grant Morrison
Art:
Sean Murthy
Colours:
Dave Stewart

Joe the Barbarian is part of an increasingly popular genre; the adult kid’s book. Joe’s spacious attic bedroom is one that every adult wishes they lived in as a child (as opposed to every current child wishing they had), with 80s action figures lining the floor and a toy railway set dangling precariously from the ceiling. And like the majority of fictional teenage outcasts, Joe possesses proficient drawing skills.

Joe the Barbarian #1

Joe the Barbarian #1

Of course, Joe the Barbarian is the latest effort from Grant Morrison, and it comes as no surprise when Joe’s reality begins to crumble around him, and the tiny toys in his room (including analogues of G.I. Joe’s Snake Eyes and the Transformers) come to life.

Quite why any of this happens, I’m not entirely sure. Issue 1 of Joe the Barbarian is little more than an exercise in character building, but it’s difficult to object to Morrison’s languid pacing when the story is introduced as well as this. The art by Sean Murthy and Dave Stewart really is in a league of its own, depicting Joe’s mundane life with a sense of the fantastical while making the hallucinatory sequences – though I suspect they’re much more – look almost plausible.

On the merits of the first issue alone, it’s difficult to say exactly where Morrison’s plot is heading, and whether Joe the Barbarian will be worth investing in. While Murthy’s art and Morrison’s track record would suggest yes to the latter, the setup between Joe and an equally timid female admirer is uncharacteristically clichéd for Morrison, and Joe’s problems (diabetes, workaholic mother, dead father) feel as though they’ve been lifted from an uninspired Hollywood kid flick.

While I have high hopes for Joe the Barbarian, I guess the question needs to be asked: were this leisurely paced premier issue scripted by an unknown writer, would it be so readily embraced?

8/10

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Punisher MAX: Get Castle Review

Monday, February 22nd, 2010 by Carl Doherty under Comic Book Reviews

Marvel, $4.99
Writer: Rob Williams
Art:
Laurence Campbell
Colours: Lee Loughridge

Frank Castle hits England in this one-off MAX special. Apparently two regular series aren’t enough to satiate the consumer appetites of Punisher fans. Leading on from a minor incident during the Barracuda arc, Rob Williams (the underrated Cla$$war) has crafted a simple but entertaining outing for the Punisher that reads as though it was written during the early issues of the character’s first ongoing series. But much better.

Punisher MAX: Get Castle

Punisher MAX: Get Castle

When Frank receives a cry for help from a recently deceased friend, he flies to Britain to euthanize a team of corrupt S.A.S. soldiers. The local heroin dealing scum aren’t nearly as efficient as the armies of Mafioso Frank is used to dealing with, however, and while the title is an obvious reference to Get Carter, the book is more similar in tone to midlands revenge flick Dead Man’s Shoes. Just try to block Rick Remender’s current Frankencastle storyline from your mind.

Williams shows us an uncompromising version of Castle that has recently been forgotten, often in favour of Ennis’s more comical take on the vigilante. In the first few pages, the Punisher mercifully shoots a pleading criminal (his crime is never revealed), only to express not remorse but puzzlement at his hesitation to pull the trigger. The Punisher has always been most effective when portrayed as a soulless monster rather than an antihero; his resourcefulness and endurance are fuelled by empty vengefulness rather than a desire to do good, and Williams captures this element of Castle perfectly.

Laurence Campbell’s art and Lee Loughridge’s colours are suitably gloomy. Castle is depicted as a sort of foreign bogeyman, his cragged features nearly always off-panel or enveloped in shadow, and there’s a genuine sense of grime to the council estate he cleans up.

While not particularly original, Punisher MAX: Get Castle is proof that solid writing is all a comic ever needs. Frank should go on vacation more often.

8/10

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Events: Comic Creators

Friday, February 19th, 2010 by Carl Doherty under Comic Events

How do comics and graphic novels go from the imagination to the page? Panel discussion with Alasdair Duncan, Alexander Wilmore, Lauren Sharp and Peter Mcleod. Followed by a workshop for aspiring writers and illustrators to have a go.

Venue: Harlow Library, Harlow
Date: 06/03/2010
Time: 10:30:00
Price: Free from the library

Map: Click Here
Accessibility: Wheelchair access.
Parking: See map link

Partner Website: www.insomniapublications.com
Related Authors: Comic Creators, Alasdair Duncan

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Marvel’s Siege #2 Review

Monday, February 15th, 2010 by Carl Doherty under Comic Book Reviews

Marvel, 3.99
Writer:
Brian Michael Bendis
Pencils:
Olivier Coipel
Inks: Mark Morales
Colours: Laura Martin

Now that Siege is halfway through, is it an epic “seven years in the making” or yet another oversized crossover that is more likely to bore me off the Marvel Universe for good than lengthen my pull list? A return to the action packed superhuman slugfests of old or a simplistic and convenient way to revert the MU to a pre-Civil War state?

All of the above, really.

Siege #2 - Variant cover

Siege #2 - Variant cover

If last issue offered few surprises – Marvel has been marketing Osborn’s assault on Asgard and the return of Steve Rogers for months now – this second issue at least had a few moments of brutality that made up for the predictable direction the entire Siege event is taking.

Bendis has clearly set out to deliver an action-orientated finale, consequently the title lacks any level of character development, or even the more intimate character moments that previous big events have allowed. The Sentry has been Osborn’s not-so-secret weapon since the formation of the Dark Avengers, but it’s sad to see what was once an interesting and conflicted character devolved to a lambent-eyed killing machine.

Olivier Coipel’s art continues to impress, though by favouring close-ups of the large cast, he’s so far failed to convey the sense of magnitude that an assault on a mythical city should. Coipel’s work on Straczyinski’s Thor revival accomplished just that, and it’s perhaps Siege’s greatest failing that this war of gods and superpowers feels so small in scale and scope.

Love Siege or hate it, the event is simply a transparent catalyst for the reunion of the traditional Avengers line-up we all know and love. Seven years in the making? More like a last minute antidote to previous crossover events. Nevertheless, unlike Avengers: Disassembled, Civil War, Secret Invasion and Dark Reign, Siege isn’t just another temporary shock to the MU that will shake up the status quo but one that looks likely to restore it.

7/10

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Incorruptible #1 Review

Tuesday, February 9th, 2010 by Carl Doherty under Comic Book Reviews

Boom! Studios, $3.99
Writer: Mark Waid
Pencils:
Jean Diaz
Inks:
Belardino Brabo
Colours:
Andrew Brabo

Take Mark Waid’s excellent series about a superhero gone bonkers, Irredeemable, turn it on its head, and what do you have? Mark Waid’s new series about a supervillain seeking redemption, Incorruptible!

Incorruptible #1

Incorruptible #1

The above oversimplification isn’t intended to demean Incorruptible by any means. Waid is intentionally playing with the flipside of his engrossing Boom! effort by setting this new series within the same universe. As the Plutonian continues to destroy that little green and blue ball we call earth, invulnerable thug Max Damage has taken it upon himself to take the rogue superman down. Or so it appears.

As with the Plutonian, Damage’s motive for this sudden change of heart is unknown, and is by far the book’s most effective hook. One minute Max is a sadistic murderer, terrorist and all-round rugged rascal, the next he’s turning on his henchmen, incinerating the contents of his underground vault and refusing the advances of his underage girlfriend/sidekick, the naughtily monikered Jailbait (who in true comic book fashion is still depicted with the buxom figure of an adult woman).

The inconstant illustrations by Jean Diaz are the only area letting this new series down so far, with Max Damage appearing like a different person in the same unimaginative costume from one panel to the next. For a 28-30 year-old he’s also peculiarly grey-haired and haggard looking. Andrew Brabo’s colours bring the best out of the substandard art, and overall it’s hardly an ugly title, but as a companion piece to one of the most exciting series currently on the shelf, Incorruptible deserves better.

Whereas Irredeemable introduced us to a large cast of superhumans in the first issue, Incorruptible is far smaller in scale; the only other person of importance we meet is Lieutenant Van Armadale, a potentially crooked cop who Damage has enlisted to help him go straight. Irredeemable took a few issues to get truly interesting, and Incorruptible has begun in a similarly unimposing fashion – not an awful lot happens in this issue, but the ever-reliable Mark Waid has set solid groundwork for what could be another fascinating twist on the cape genre.

8/10

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Dante’s Inferno #1 Comic Review

Monday, February 8th, 2010 by Carl Doherty under Comic Book Reviews

Wildstorm, $3.99
Writer: Christos Gage
Artist: Diego Latorre

As the comic book and video game industries progressively compete for the same demographic, there’s understandably a lot more comics based on game franchises hitting the shelves each month. Dante’s Inferno has the distinction of being not only based on the upcoming game of the same name, but Alighieri’s epic poem The Divine Comedy. For those who haven’t kept informed on the video game, it contemporises Dante’s voyeuristic passage through the three realms of Hell into the tale of a templar battling the minions of the underworld to save the soul of his beloved, Beatrice.

Dante's Inferno Comic

Dante's Inferno Comic

Sadly, this series fails to capture either, with a narrative that unwinds in such a directionless and abstract way that anyone unfamiliar with the upcoming game will be more than a little confused. By narrating parts of the story from Beatrice’s perspective, writer Christos Gage loses focus entirely, and it’s difficult to sympathise with either of these condemned souls when we haven’t been introduced to them before their trip to the afterlife.

The layered, multimedia art by Diego Latorre (Vision Thing) also fails to capitalise on the game’s twisted imagery. Latorre should have been the perfect choice for this title, yet his images focus so fervently on doomed lovers Dante and Beatrice that his depiction of Hell is almost non-existent; completely neglecting Inferno’s surrealist structures and vast landscapes of infinite suffering.

A lot of effort has clearly gone into Dante’s Inferno, which makes the book’s ineffectiveness all the more disappointing. If Gage picks up the pace in future issues, there’s potential here… but then you might as well just pick up the game. Or better still, grab a cheap copy of Dante’s poem, and use what our ancestors used to call an “imagination.”

5/10

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Mass Effect: Redemption #2 Comic Review

Monday, February 8th, 2010 by Carl Doherty under Comic Book Reviews

Dark Horse, $3.50
Story: Mac Walters
Script:
John Jackson Miller
Art:
Omar Francia
Colours:
Michel Atiyeh

The universe Bioware have forged for Mass Effect is nothing short of magnificent, but it doesn’t take a particularly keen eye to spot the problem in expanding this blossoming space opera franchise into other media. While the promotional material for the recently released sequel may show the “canon” male Shepard, Bioware are clearly intent on letting each player feel as though their lovingly crafted protagonist – and the decisions he made – is their own.

Mass Effect: Redemption #2

Mass Effect: Redemption #2

Consequently, the omission of Commander Shepard floats like a black hole at the centre of Mass Effect: Redemption – as well as the second Mass Effect novel, Ascension – and it’s a shame that, as with the better Star Wars comic spin-offs, Dark Horse have not opted for an unrelated character in another part of this potentially multifaceted world.

Nevertheless, the supporting cast in both games are all interesting enough to maintain a four-part miniseries, and though asari fan favourite Liara T’Soni is a fan favourite, she’s also a complicated character to write: as Liara may/may not (deleted where applicable) have had a relationship with Shepard, it is only ever ambiguously hinted upon.

But Mac Walters and John Jackson Miller have formed a decent enough story here, with Liara being recruited by Cerberus’s head honcho the Illusive Man to retrieve Shepard’s corpse. With Spepard conveniently spending this series in a coffin, we’ll hopefully get to see why Liara had transformed into a hard-nosed bitch with a grudge for the Shadow Broker in Mass Effect 2, and Liara’s shifty drell aid, Feron, also presents us a further look of the new race that debuts in the video game sequel.

Omar Francia’s art continues to perfectly capture the sleek designs, racial diversity and stark interiors of the video game – even if Liara has changed proportions somewhat – but I still feel that Atiyeh’s colours are too bright at times, and lacking in the neon-lit shadows that made Omega so compelling in the actual game.

Nevertheless, Mass Effect: Redemption is a fine looking book with a more than adequate story. It’s hardly a literary accomplishment, but it was never intended as such, and fans of the budding Mass Effect property won’t be disappointed.

7/10

Mass Effect - asari Liara T'soni

Mass Effect - asari Liara T'soni

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Pilot Season: Murderer #1 Review

Thursday, February 4th, 2010 by Carl Doherty under Comic Book Reviews

Top Cow, $2.99
Story: Robert Kirkman
Pencils: Nelson Blake II
Inks: Sal Regla
Colours: Dave McCaig

Often considered more “content writers” than literary artistes, comic writers seem destined to grab at whatever conventions are currently popular and craft tales that are familiar enough to sell to fans of the fictional fad of the moment (at time of writing: Twilight, and zombies) without proving derivative enough to invoke legal action.

Pilot Season: Murderer #1

Pilot Season: Murderer #1

Murderer is the first in Top Cow’s Pilot Season – five first issues created by Robert Kirkman, only one of which will be voted worthy of a regular series – and is a contradicting mixture of hackneyed ideas and some pretty solid storytelling. Murderer concerns Jason, a telepath whose only way to temporarily suppress the voices in his head is to commit murder. Given his ability to read thoughts (or rather, inability to block thoughts out) Jason is able to single out individuals who the world would be better off without, thusly taking out the scum of the earth while satisfying his need for a decent night’s sleep. This way everybody wins!

In terms of tone, Murderer is a blend of Unbreakable, Medium, The Equalizer and the movie Frailty amongst others, and while Kirkman’s central character initially seems quite bland, the way in which his powers, and the associated remedy, are introduced is engrossing and novel. Nelson Blake II’s crisp pencils are accentuated by Sal Regla’s fine inks, and while the colours by Dave McCaig are perhaps too vivid for a series as macabre as this, Murderer was a pleasure to both read and look at.

Kirkman is wise enough to keep Murderer #1 straightforward, and the end result is a pilot issue that definitely has potential, but feels too complete as a standalone to work effectively as an appetizer. Would I pick up a second issue of Murderer? Probably. Would I be particularly bothered if this is the last of psychic serial killer Jason I ever read? Probably not.

7/10

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